Slow bounce !

Watch it bounce on slow mo😍😍🙂‍↔️❤️

This is epic 😮 - Left hand hold -... right hand bounce - left hand release to right hand solo (I think 🤷‍♂️ as it was so quick, even with slow mo) - move across the defender’s body (position before possession!) - and then right footed shot - awesome👏🏐show more

Week in Meme Coins: TRUMP Makes Moves, Pump.​fun Buys... Padre Trading Terminal. Powell's 25bps cut came with hawkish vibes, Bitcoin briefly dipped below $108K and degens lost $800M in liquidations! But the bounce? TRUMP led majors with +45% while meme volume exploded 50% to $10B! Overall, it was a slow climb. Let's go! 🧵 1/6show more

Goddess Beyoncé has been draining little boys all day... long. Slow motion tit bounce at her concert to make all the little simps in the crowd weak. Beyoncé loves a simpy little gooner, so start sending! catfish findom humanATM paypig hypno egirl teen voice asmr goon humiliation joi sph scamass 2dfd celebrity sph joi cuck simp goon humiliationshow more

🚨VAIBHAV SOORYAVANSHI HAVE TO WORK ON THIS ASPECT, ELSE... HE WILL BE EXPOSED - YUVRAJ SINGH🤯 Yuvraj Singh said :🗣️ "Vaibhav Sooryavanshi has all the talent in the world. There is no doubt on his abilities but there is a weakness in his armoury. He struggles against the moving ball, when the ball swings away at an angle, he stays rooted to the crease & hence he always find wanted at the crease. The bowlers are also trying to bounce him out, he can pull the ball with ease on slow surfaces. Bouncer is not a big problem for him but I feel he has to work on the moving ball, the bowlers will try to expose him everyday & he needs to work really hard on this aspect & hence can find different ways to counter that stuff".show more

Little moment of kindness captured with Seedance 2.0 on... Lart AI Try it yourself: A highly realistic 12-second vertical (16:9) cinematic short film filmed as if on a smartphone with natural handheld movement. A young man is standing on a pedestrian bridge over a calm river, texting on his smartphone. He accidentally fumbles it, and the phone slips from his hand. The camera follows the phone as it tumbles realistically through the air under gravity. At that exact moment, a small fishing boat is passing beneath the bridge. The experienced boat captain notices the falling phone, quickly reacts, and skillfully lifts a fishing net upward. The phone lands safely inside the net with realistic momentum and bounce. The captain smiles, docks beside the bridge, hands the phone back to the surprised owner, who gratefully says, "Thank you so much!" The captain simply nods with a warm smile before leaving. Golden-hour natural lighting, authentic facial expressions, physically accurate falling motion, realistic boat movement and water ripples, no impossible actions, no slow motion, no CGI-style effects, no jump cuts, cinematic depth of field, natural ambient sounds only (river, birds, engine, footsteps, dialogue), emotionally uplifting ending.show more

Phoebe Chibi can fight really well Made with Seedance... 2.0 on Yapper Tutorial below 👇🏻 Prompt Cinematic 15-Second WuWa-Style Anime Video Prompt (With Cut Scenes) Highly detailed 15-second video in the visual style of Wuthering Waves anime 3D gameplay. Vibrant, high-saturation color palette with glowing teal, purple, gold, and electric blue accents. Strong cinematic bloom, particle effects, motion trails, and dynamic lighting. Smooth 60fps, 4K resolution, vertical format (9:16). Fast-paced meme edit with clean transitions, slow-motion beats, subtle screen shake, and stylized VFX. PART 1 (0–4s) — Exploration + Soft HookWide cinematic shot of an anime-style female character standing on a glowing open-world cliff at sunset. Wind flows through her hair and outfit, particles floating in the air.Cut → tracking shot as she begins running forward, light trails forming behind her 2.4s: soft Korean-style “ee ee” voice plays as she tilts her head slightly, subtle cute expression. PART 2 (4–8s) — Action Build-UpCut → mid-air dash sequence with dynamic camera following from behind.Cut → side angle slow-motion as she flips and draws her weapon, glowing energy forming around it.Cut → close-up of her eyes sharpening with focus, reflections of neon particles intensify, environment reacting with slight distortion. PART 3 (8–12.7s) — Power MomentCut → wide combat shot as she unleashes a flashy ability, spinning with bright teal and purple energy trails.Cut → top-down shot showing circular AoE effects expanding outward.Cut → slow-motion impact moment with bloom lighting and screen shake.Everything builds visually toward a peak. PART 4 (12.7–13.5s) — Punchline ShiftSudden tonal switch.Close-up zoom on her face with exaggerated cute expression.Warm pastel overlay replaces previous dramatic 12.7s: voice line “hah baby jovi” plays, synced with a slight head bob and playful eye movement. PART 5 (13.5–15s) — Meme Loop EndingCut → chibi-style or softened version of the character.She makes a silly or adorable expression (puffed cheeks or blink loop).Text or subtle bounce animation.Voice repeats: “baby chubi baby chubi” in sync with rhythmic head movement. Overall Style NotesSeamless quick cuts (every 0.5–1.5s), energetic pacing, balanced mix of cinematic and meme humor.Strong contrast between epic action build-up and cute comedic payoff.Consistent lighting transitions from dramatic neon to soft pastel at the punchline. #WutheringWaves #流萤 #Firefly #ホタル #HonkaiStarRail📷 #崩壊スターレイル #AIイラスト #AIart️️️️️️️️️️️️️️️️️️️️️ #ArknightsEndfield #phoebechibi #seedance2show more

Created with Seedance 2 + GPT IMAGE 2 Prompt:... Ultra-realistic cinematic 15-second vertical video (9:16), 4K, dark rustic wooden table, soft dramatic lighting, shallow depth of field, natural textures, no text, no subtitles, no music.0–2sTop-down shot: delicate hands with soft blue nail polish gently touch a bowl of flour.Around it: scattered blueberries, mint leaves, butter cubes.Subtle ambient movement, calm setup.2–4sSide close shot: flour being sifted into a glass bowl.Fine particles fall in slow motion, catching warm light.4–6sMacro shot: hands kneading dough.Sticky texture stretches between fingers, light flour dust visible on skin.6–8s45-degree angle: fresh blueberries pour into a pie crust.Berries bounce naturally, filling the base with slight movement.8–10sTop angled close-up: hands carefully place lattice strips over the pie.Precise woven pattern forming, smooth controlled motion.10–12sSide shot: oven door opens.Warm golden light spills out with gentle steam.Pie placed inside, heat distortion subtly visible.12–13.5sClose-up: crust brushed with glaze.Surface becomes glossy, light reflecting softly.13.5–14.5sMacro: fresh blueberries and mint placed on top of baked pie.Tiny details, natural imperfections, realistic textures.14.5–15sFinal frontal shot: finished blueberry pie on rustic table.Hands enter frame softly.A small white kitten sits nearby, quietly observing.show more

Created with seedance 2.0 on Yapper by using the... prompt: Create a 15-second ultra-smooth anime-style gameplay cinematic inspired by a futuristic Japanese city exploration game. A young anime girl character with white/silver hair, wearing a stylish black-and-white futuristic outfit with short skirt, thigh-high socks, and combat-style shoes, is running and climbing across red rooftop houses in a dense modern Tokyo-inspired city. Environment: Bright sunny daytime, blue sky with soft clouds, realistic anime lighting, modern skyscrapers in background, cherry blossom trees near houses, urban Japanese neighborhood mixed with futuristic city towers. Rooftops have realistic red metal textures with sunlight reflections. Character movement: Fast agile parkour movement across rooftops. Smooth running → jump → wall climb → rooftop landing. Natural anime body physics, cloth movement, hair bounce, accurate foot placement. Movement should feel like real gameplay captured live from a AAA anime open-world action game. Camera style: Third-person gameplay camera positioned slightly behind character. Dynamic camera follow with slight handheld motion. Smooth tracking movement. Minor motion blur during jumps. Game HUD/UI visible on screen like a real anime action RPG. Mini-map top left, action buttons on right side, health/stamina bar bottom center. Sequence: 0–4s Character runs across rooftop while camera follows behind smoothly. 4–8s She jumps between rooftops with cinematic slow-motion mid-air moment. 8–12s Character grabs edge of higher rooftop and climbs upward naturally. 12–15s Wide gameplay shot showing futuristic city skyline behind her while she stops briefly on rooftop edge. Wind moves hair and clothes naturally. Style & Quality: Ultra detailed anime rendering, high-end cel shading mixed with realistic lighting, smooth gameplay animation, modern gacha game aesthetic, polished textures, soft bloom, sharp shadows, immersive open-world atmosphere, 60fps feeling, cinematic gameplay trailer quality. Negative Prompt: low quality, broken anatomy, floating body, extra limbs, blurry textures, bad hands, static camera, unrealistic movement, low fps, distorted face, glitch effects, ugly lighting, oversaturated colors, missing UI, stiff animation.show more

She wasn't dancing for anyone until the whole street... joined in. One girl. One beat. And suddenly everyone's in. Made with GPT Image 2 and Seedance 2.0 on BudgetPixel AI Prompt: Video Prompt — 15 seconds, 16:9, Solo female street dancer Jessy (described above) dancing continuously and energetically from the very first frame to a viral trending upbeat pop/afrobeat-style track (130 BPM, catchy hook-driven viral sound), full choreography visible throughout — no static feet-only opening, no frozen ending. Sunlit outdoor market street, colorful stalls, soft crowd blur, photorealistic, 8K detail, consistent facial identity, cinematic natural daylight, fluid motion blur, perfect temporal consistency. 0:00–0:03 — Low-angle tracking shot rising into a full-body view; Jessy is already mid-move, doing a bouncy shuffle-step with sharp arm swings and a hip pop on the beat drop, ponytail whipping, face clearly visible and expressive. 0:03–0:06 — Whip-pan into a Dutch-angle mid-shot; Jessy spins into a body-roll combo, arms cutting sharply through the air, handheld camera pulsing with the beat. 0:06–0:09 — Crash-zoom to a high-angle crane shot; Jessy drops into a low groove-step with a floor-touch and pop back up, dust kicking softly at her sneakers, still mid-motion. 0:09–0:12 — Snap-cut to eye-level tracking shot circling her; nearby onlookers — two women and one man, each with distinct clearly-visible faces, different hairstyles, and different outfits from Jessy and each other — start mirroring her moves and join in, forming a loose group dance, all faces on camera (face cards visible, no obstruction). 0:12–0:15 — Wide dynamic shot pulling back as the whole group dances together in sync, Jessy in the center still moving with sharp bounce and a playful spin, camera continuing to move (slow pull-back with slight handheld shake) right up to the final frame — no freeze, motion carries through to the last moment, energetic smile toward camera.show more

I love that Higgsfield is making its best AI... commercial workflows completely open-source. Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below. Prompts : Style: 8K IMAX. Photorealistic — no 3D render, no game engine, no game-cutscene aesthetic. Cinematography: Emmanuel Lubezki × Roger Deakins. Lighting: Natural light only — contre-jour backlight, camera on shadow side, atmospheric haze throughout. Key light from sky and windows only. Color: 60:30:10 — dominant / secondary / accent. Camera: Physical cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, asymmetric moles, capillary flush, pore-shadow matching on-set light. Acting: Hollywood — micro-pauses before reactions, precise eye-line, wet living eyes with catch-lights, visible breath and chest rise. Physics: Gravity and inertia respected — mass has real weight, correct contact shadows. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Environmental SFX only. No music. No subtitles. SUBJECT — >>, character matches input 100%, >> can in right hand. By end fully transformed into >> — armor assembled mid-air in real-time, >> matches input 100%. WB 6500K. MULTISHOT — fast cinematic cutting, escalating energy across the full 15s. LOCATION — >> is a STYLE REFERENCE ONLY, not a fixed keyframe. Use it for the look, mood, architecture and lighting of the environment — a deserted NYC-type avenue in hard midday sun. Seedance should freely generate and extend the world: new buildings, new stretches of avenue, fresh camera angles. The character TRAVELS through space across the shots — he is NOT pinned to the exact spot or framing of the input image. Do not reproduce the reference frame 1:1. ACTION — SHOT 1 (0:00–0:02) — EXTREME CLOSE, chin to forehead. >> raises >> to lips, deep pull. Adam's apple descends then rises twice. Hard cut. SHOT 2 (0:02–0:04) — Same close framing. Can lowers fast. Eyes snap open, sharp and alert (natural skin and iris detail, no glow). Zygomaticus major fires — wide genuine grin builds in under a second, 2mm to 8mm at mouth corners. Sternum rises with a full deep inhale. He is electric. Hard cut. SHOT 3 (0:04–0:06) — WIDE, low. >> EXPLODES forward into a sprint at 30 km/h, continuing in the SAME direction he was already facing — straight ahead down the avenue, NOT turning around. First strides — sneakers slam cracked asphalt, dust puffs eject 10cm. Hard cut. SHOT 4 (0:06–0:08) — Tracking the sprint. Arms drive at 90°, track jacket trails 15cm, grin held, brow raised, jaw relaxed open. Stride extends, ground contacts shorten. Building speed. Hard cut. SHOT 5 (0:08–0:10) — Final two strides, knees compress to 110°. Right foot drives into asphalt — surface fractures 20cm radius. He LAUNCHES upward at 65 km/h. Hard cut. SHOT 6 (0:10–0:13) — Mid-air in the >> building canyon, 24fps FULL SPEED, NO slow-motion. He is NOT frozen — his whole body keeps moving through the jump: torso rotates, legs cycle and tuck, arms swing out and reach, head turns to track the incoming armor. As he flies and twists through the air, armor pieces rip in from the city geometry and converge onto his moving body — chest plate LOCKS mid-rotation, pauldrons CLAMP as his shoulders swing, gauntlets SNAP onto forearms while his arms extend, shin plates clamp onto cycling legs, helmet descends and visor SLAMS shut as his head turns forward — one violent fluid sequence, body in constant motion throughout. Sharp metallic CRACK at visor seal. Hard cut. SHOT 7 (0:13–0:15) — >> SLAMS into >> in a hard crouch, both armored feet hit asphalt simultaneously, dust ring erupts 80cm. He rises, snaps gauntleted fists open and shut — left then right — glances down at the chest plate. Muffled laugh from behind the sealed visor. Hard cut to black. CAMERA — SUPER-DYNAMIC HANDHELD, never static, never locked off. Strong aggressive operator shake on every shot — 4–8cm bounce, organic human jitter, no stabilization. Pronounced DUTCH ANGLE throughout — frame canted 12–20° and shifting between shots, tilting harder as energy builds. SHOT 1: FOV 18° extreme close, hard dutch 15°, violent micro-shake. SHOT 2: FOV 18°, dutch flips to opposite side ~18°, jittery. SHOT 3: FOV 84° low, dutch 12°, whip into the sprint. SHOT 4: FOV 84°, camera physically chasing the run, dutch 16°, heavy stride bounce, motion blur on pans. SHOT 5: FOV 63°, dutch 20°, snap-tilt up tracking the launch. SHOT 6: FOV 63°, AGGRESSIVE HANDHELD CAMERA MOVEMENT — operator arcs and swings around the airborne body, 6–8cm bounce, fast reframes chasing each armor piece as it locks onto his moving form, strong DUTCH ANGLE swinging 18°→8°, no slow-mo. SHOT 7: FOV 63°, hard jolt on landing impact, dutch 14°, camera recoils 8cm then keeps breathing on the suit inspection. STYLE — Dominant: bleached asphalt grey and building canyon 60%. Secondary: navy/cream outfit transitioning to chrome armor 30%. Accent: grin, dust, chrome flash and visor LED blue on landing 10%. WB 6500K. NO glowing eyes — eyes lit by natural sunlight only. CONSTRAINTS — Cut to black at end. 16:9. MULTISHOT with hard cuts per the timecodes above. NO slow-motion anywhere — everything 24fps full speed, especially the transformation. Camera always handheld with strong shake and dutch angle — NEVER static or locked. NO eye glow. >> is a reference for style only — do NOT lock to the input frame or keep him in the same spot; the world extends and he moves through it. Grin must be fully established before the sprint begins.show more

A premium LEGO-style cinematic sneaker commercial where street basketball... culture meets iconic brick-built animation. Featuring a stylish black sheep minifigure rocking custom LEGO Air Jordan 1s, the film delivers dynamic gameplay, dramatic lighting, and high-energy visuals, ending with a bold statement: STEP DIFFERENT. Made for Renoise x Contra challenge Use of Nano Banana 2 + Seedance 2.0 **LEGO STYLE NIKE AIR JORDAN 1 COMMERCIAL (15 SECONDS)** **Style:** Premium LEGO cinematic animation with authentic glossy plastic bricks and minifigure aesthetics, inspired by high-end LEGO animated films. Every object, environment, and character is constructed entirely from LEGO elements with visible studs, molded textures, and realistic plastic reflections. Vibrant neon green and black color palette (60:30:10 — neon green dominant, black secondary, chrome/silver accents). Volumetric haze, cinematic dusk lighting, anamorphic lens flares from stadium floodlights, soft depth of field, realistic plastic reflections, floating LEGO dust particles, smooth 24fps animation. No live action. No text overlays except the final logo card. **Character:** A stylish anthropomorphic LEGO black sheep minifigure with textured curly black LEGO wool hair, molded sheep ears, expressive printed face, and yellow transparent round LEGO sunglasses. Wearing an oversized neon-green sherpa-inspired LEGO fleece jacket with molded fluffy texture over a black-and-neon-green striped sweater torso print. Loose black LEGO jogger legs with sneaker-friendly proportions. Thin silver LEGO chain necklace with a dog-tag accessory. **Footwear:** Authentic LEGO-built Nike Air Jordan 1 "Neon Green/Black" sneakers featuring white LEGO panels, neon green overlays, black toe cap, black swoosh details recreated using LEGO elements while maintaining the recognizable silhouette. **Location:** Stylized LEGO outdoor basketball court at dusk. Brick-built asphalt court with glossy wet reflections, LEGO chain-link fence, colorful graffiti brick walls, distant LEGO city skyline glowing orange and purple beneath towering floodlights. Atmospheric haze between the buildings with floating LEGO dust particles. --- ### CUT 1 (0:00–0:03) Wide low-angle establishing shot (35mm feel), static. The LEGO sheep minifigure stands confidently at center court holding a LEGO basketball beneath one arm. A gentle breeze slightly rustles the oversized sherpa jacket pieces while the character slowly turns toward camera. Hard match-cut into an extreme macro close-up. One LEGO Air Jordan steps forward. Tiny LEGO dust pieces scatter across the brick-built asphalt in slow motion as the shoe locks firmly onto the court. --- ### CUT 2 (0:03–0:07) Low dynamic tracking shot (24mm), energetic handheld feel. The sheep crouches into a basketball dribble. Close-up of the LEGO basketball bouncing beside the glowing neon-green sneaker while the silver chain swings naturally. Whip-pan into a full-body action shot. The sheep bursts into a fast crossover sprint across the court. Neon green motion trails streak behind the shoes. Jacket panels bounce, ears flap, and plastic pieces subtly flex with movement. Camera performs a rapid 180° orbit ending behind the character looking directly toward the basketball hoop. --- ### CUT 3 (0:07–0:10) Slow-motion sequence (50mm). The sheep launches high into the air for a powerful dunk. Oversized sherpa jacket billows dramatically. Yellow LEGO sunglasses catch brilliant floodlight reflections. Cut to an extreme macro. The sneaker heel lands. A circular neon-green LEGO energy ripple travels outward across the court. Cut to the spinning LEGO basketball in shallow depth of field. The ball cleanly swishes through the LEGO chain net in elegant slow motion. --- ### CUT 4 (0:10–0:13) Hero beauty shot (85mm). The sheep lands confidently in a crouched pose. A glowing green energy ring pulses beneath both sneakers. The character slowly rises into a relaxed hero stance. Head tilts slightly. Yellow sunglasses reflect the glowing skyline. Macro insert. Extreme close-up of the LEGO Air Jordan toe box, white brick surfaces, black swoosh details, molded seams, glossy plastic finish, and subtle rim lighting emphasizing every LEGO element. --- ### CUT 5 (0:13–0:15) Static wide shot. The sheep walks away toward the glowing LEGO skyline while casually holding the basketball at its side. Its silhouette disappears into the atmospheric dusk haze. Hard cut. The same character now faces camera with arms crossed in a confident hero pose. Nike swoosh logo and the words: **STEP DIFFERENT.** Fade onto the bottom of the frame in clean white and neon-green typography. No additional motion. --- **Audio:** Authentic LEGO plastic footsteps, sneaker squeaks, basketball dribble impacts, subtle jacket rustling, ambient city atmosphere, distant court ambience, cinematic synth swell building toward the final logo reveal. No dialogue. No lyrics. #RenoiseChallengeshow more

Taste the chocolate magic. GPT Image 2 + Seedance... 2.0 on Sjolt prompt **15-Second Bisconni Cocomo Party Pack Commercial Prompt** A high-energy, ultra-realistic 15-second commercial featuring a young woman with long wavy blonde hair, fair skin, bright blue eyes, and a confident, playful expression. She wears a colorful streetwear outfit consisting of a vibrant yellow oversized hoodie, denim shorts, white sneakers, and colorful wristbands. She skateboards with natural, realistic body movement and expressive facial performance. The featured product is a vibrant red plastic stand-up pouch of **Bisconni Cocomo Chocolate Filled Biscuits Party Pack**. The pouch features a large yellow **"PARTY PACK"** banner in bold red letters decorated with colorful party hats, the white **Bisconni** logo inside a red oval, the large **"Cocomo"** logo in rainbow gradient letters with a blue outline, the text **"CHOCOLATE FILLED BISCUITS"** in white beneath it, and a circular illustration of four smiling cartoon children on the front. Several cheerful cartoon kids peek from behind the pouch, while round light-brown chocolate-filled biscuits with embossed designs including a smiling car, star, sun face, train, and chocolate-topped biscuit appear throughout the commercial. Bright summer colors, commercial-grade realism, highly detailed textures, vibrant product branding, cinematic camera movement, realistic physics, crisp typography exactly matching the packaging, premium food-commercial quality, 4K. **Shot 1 (0:00–0:01.5):** Wide fisheye push into a colorful graffiti-covered skate bowl beneath bright midday sunshine. Chocolate cream ribbons begin swirling around the bowl while embossed Cocomo biscuits tumble playfully through the air. The blonde skater stands at the rim holding the vibrant red Cocomo Party Pack. Palm trees sway against a deep blue sky. Whip pan right transition. **Shot 2 (0:01.5–0:03):** Whip pan resolves into an extreme macro close-up of the Cocomo pouch. Condensation droplets sparkle across the glossy packaging while sunlight creates brilliant highlights over the rainbow Cocomo logo, the yellow PARTY PACK banner, and the smiling cartoon children. The camera slowly glides across the surface before a matched zoom transition. **Shot 3 (0:03–0:04.5):** Pull back reveals the blonde skater dropping into the bowl. Chocolate ribbons spiral around her skateboard while Cocomo biscuits float beside her in slow arcs. Graffiti walls streak past with energetic handheld movement. Speed-ramp transition. **Shot 4 (0:04.5–0:06):** At maximum speed, she thrusts the Cocomo Party Pack toward the camera. A dramatic burst of flowing chocolate filling erupts outward, carrying flying embossed biscuits toward the lens. Strong midday backlight creates glowing highlights. Smash cut. **Shot 5 (0:06–0:07.5):** The chocolate splash freezes into elegant suspended ribbons while biscuits rotate slowly through the sunlight. Every biscuit embossing remains visible as the camera performs a smooth left orbit around the floating action at approximately 20% speed. **Shot 6 (0:07.5–0:09):** Orbit rises into a dramatic overhead fisheye shot. The blonde skater lifts the Cocomo pouch triumphantly while chocolate ribbons spiral around her and dozens of biscuits circle like confetti. Bright sunshine illuminates the vibrant red packaging. Crane match transition. **Shot 7 (0:09–0:10.5):** Camera cranes downward as she lands an impressive skateboard trick. Chocolate streams wrap around the skateboard while biscuits bounce naturally around the landing. Motion blur enhances speed as she smiles confidently toward camera. Match cut. **Shot 8 (0:10.5–0:12):** Match cut into a smooth dolly push toward the smiling blonde skater extending the Cocomo Party Pack. Chocolate ribbons and embossed biscuits continue floating gracefully around her while warm sunlight sweeps across her face. Speed ramps gradually into slow motion before fading. **Shot 9 (0:12–0:13):** Fade into a tight cinematic push toward the pouch only inches from the lens. Condensation droplets slide naturally across the glossy packaging while shallow depth of field shifts gently across the PARTY PACK banner, Bisconni logo, rainbow Cocomo typography, cartoon children illustration, and chocolate-filled biscuit graphics. Match cut. **Shot 10 (0:13–0:15):** Hero ending. Slow orbit around the blonde skater frozen mid-air performing a skateboard trick while confidently presenting the Cocomo Party Pack directly toward the camera. Rich chocolate ribbons cascade around her as embossed biscuits fly through the frame. Bright sun flares sweep across the lens, ending on a crystal-clear hero shot of the package with every logo, illustration, color, and typography perfectly matching the original packaging. **Audio:** Upbeat tropical electro-pop soundtrack with premium commercial sound design. Realistic skateboard wheel rolls, ramp impacts, chocolate splash effects, biscuit impacts, energetic whooshes, camera transition swishes, sparkling packaging sounds, and a polished advertising mix synchronized precisely with every camera movement and transition.show more

The moment she pressed her tiny hand to the... glass, something in the room shifted. You could see her whole face light up as if this cold barrier wasn't even there. And for a brief second, the man in the orange uniform forgot where he was, because the little girl staring back at him was his whole world. Caleb had been locked up for a little more than a year after a night that went wrong in every possible way. He never denied what he did. He owned it. But owning it didn't make the weight of missing his daughter any lighter. When he went in, Lila was barely forming her first sentences. Now, at around two and a half, she talked nonstop. She knew colors, she knew songs, and she asked for her dad every morning. His wife, Emery, never missed a visit. She carried Lila on her hip through security, through the metal detectors, through the long hallway that always smelled like bleach. Lila never complained. She always came with the same excitement, the same little bounce in her walk, like today might finally be the day she could hug him. The officer nodded. Caleb stepped forward. The glass was clean enough to see every detail of his daughter's smile. "Hey, my little princess. Daddy's right here." "Hey, Dad." Emery smiled behind her, brushing Lila's hair out of her face. "She talks about you every single day." Caleb swallowed hard, fighting the sting in his eyes. "Love... I love you more than anything in this world, okay? Put your hand right here for me." "I love you too, Daddy." Lila pressed her small palm against the partition. Caleb matched it. Their hands lined up perfectly through the cold barrier, but the feeling was warm enough to break him. She leaned forward, giving the glass a gentle kiss, and he closed his eyes as if he could feel it for real. People walking past pretended not to stare, but moments like this always pull reactions out of strangers. Some see hope. Some see heartbreak. Others don't know what to feel at all, because everyone carries their own idea of what a parent should be and how much a second chance is worth. Caleb didn't think about any of that. He only saw his daughter looking at him like nothing in her tiny heart had changed. The guard signaled that time was almost up. Emery lifted Lila a little higher so her face stayed level with his. Caleb breathed in slow, letting himself memorize every detail. "When I come home," he whispered, "I'll make you proud. Every single day." Lila nodded with a seriousness only small children can pull off, as if she understood more than anyone expected. When they turned to leave, Caleb kept his hand on the glass for a few seconds longer. Not to hold on to them, but to hold on to the promise he'd just made. Anyone who's ever loved a child knows exactly why that moment stays with you long after the room goes quiet.show more

AI creations are becoming more impressive, but the most... interesting part is often what happens behind the scenes. Higgsfield has open-sourced its Originals, giving creators access to the prompts, references, and workflows behind these AI films. Now you can see how these creations come together, explore the process, and learn from the techniques behind them. Prompt for this video: Style: 8K IMAX, traditional hand-drawn 2D animation, animated on twos at 12 frames per second — each drawing held for two frames then replaced, choppy stepped motion cadence, visible pose-to-pose timing, distinct keyframe drawings with no smooth in-between interpolation, hand-painted oil-brush texture on every drawing, brushstrokes shifting and redrawn from frame to frame, line jitter and boil between frames. No 3D render, no game engine, no CGI smoothness. The 12 principles of animation throughout: anticipation, squash and stretch, follow-through and overlapping action, slow in/slow out, arcs, secondary action, exaggeration, solid drawing — applied to every element including wolf bodies, clothing, breath, and snow particles. Cinematography: Lubezki / Deakins. Aggressively handheld inside the scene — constant restless shake and jitter every frame, jerky bounce, frame buffeted sideways by gusts, sharp reframing jolts, breathing sway. Horizon never perfectly level. Never gimbal-smooth, never tripod, never dolly, never crane, never aerial. Wide anamorphic approximately 24mm. Shallow depth of field. Camera eye level or below. CHARACTER REFERENCE IS ABSOLUTE — faces and designs from reference images exactly 1-to-1. Reference always overrides text description. CHARACTER TAGS: - THE MOTHER = woman from >>. Bundle clamped to her chest in one arm, the bundle a dark non-glowing shape, faint pale grey breath vapor torn off by the wind, no glow. - THE TODDLER = small girl from >>. Name Umai. - THE WOLVES = animals from >>. Each wolf stands roughly half a human's height at the shoulder. Body length from head to tail equals approximately one full human height. Large, heavy, and low to the ground. - THE FOREST = location from >>. Lighting: no light source, no moon, no stars, no rim light, no contre-jour, no key light. Flat dim diffuse ambient grey-white glow only — no direction, no gradient shading. Flat painted shapes. All forms read as dark silhouettes or mid-grey against white atmosphere. Atmosphere: violent blizzard continuous every frame. Snow driven horizontally. Visibility approximately 3 meters. Rolling white-out waves sweeping the lens. Wind never drops. Hair and robe ends stream sideways with full follow-through and overlapping action. Audio: dominant roaring blizzard wind. THE MOTHER's trembling breath close. Distant low wolf howl buried under wind, barely audible in Shot 2D. No dialogue. No music. No subtitles. SHOT 2C — EXTREME CLOSE-UP handheld on THE MOTHER's eyes. Duration: 3 seconds. COMPOSITION: asymmetric — forbidden: any centered or symmetric framing. One eye occupies the left two-thirds of frame. The other eye cut by the right frame edge — only the inner corner visible. Slight Dutch angle tilt. Lashes ice-crusted and heavy. Whites faintly red-veined from cold and wind. Main eye narrowed, gazing off-screen into far distance below frame. ACTION on twos: eyeball in micro left-right tracking movement — pause — pupils contract sharply — the instant of recognition — eyelids flutter slightly in two held frames — jaw corner tightens off-frame, visible only as a tension in the cheek — breath vapor drifts across the lower corner of frame, torn sideways by wind. Constant handheld micro-shake throughout. A rolling wave of buran briefly obscures the frame. Animated on twos. HARD CUT TO SHOT 2D — WIDE SHOT handheld — wolf pack as shadow mass — distance mode. Duration: approx. 8 seconds. COMPOSITION: asymmetric — forbidden: centered framing. Camera positioned within the tree line, offset to the left. Dense tree trunks occupy and crowd the right third of frame. Open space to the left. Depth axis shifted right, not centered. Wolf pack drives into frame from the lower right — mass heaviest on the right side, left edge showing only sparse fringe and trailing edge. THE PACK — approximately two hundred wolves. They do not exist as individual animals. NOT smoke, NOT mist, NOT vapor — the pack has mass, weight, and momentum. The entire pack moves as a single body of dark water surging downhill — liquid with density and pressure behind it, not diffuse or drifting. It is also shadow: it swallows light rather than reflects it, leaving a presence darker than everything around it in the flat grey-white atmosphere. Water and shadow — these two qualities together, never smoke. Movement pace: swift and relentless — faster than expected for something so massive, the speed of a flash flood or a river breaking its banks, not slow and rolling. The mass covers ground urgently, with weight and velocity combined. Mass density clearly differentiated: the core is near-opaque dense black like deep water — solid, heavy, light-swallowing — toward the edges it thins like water spreading at its margins, individual silhouettes briefly legible at the fringe then reabsorbed into the core. The edge is not soft or diffuse like smoke — it is the ragged turbulent edge of moving water. Large waves and small waves alternating with speed: heavy large waves surge and crest — small fast wave-crests explode between them. White teeth are the only thing in frame that does not belong to the shadow — solid, material, flashing simultaneously at multiple points as wave-crests break, then swallowed back. Skull outlines breach the surface and are pulled under like objects in fast current. Charcoal black with deep navy-blue sheen. Amber-yellow eye-points ignite in clusters in the darkness then extinguish in batches like bioluminescence in black water. Black water flood pours between the tree trunks — trunks submerged by black then re-emerging as the mass passes. Contrast: white blizzard / black wolf mass — white fear, black death. Camera near-still, breathing micro-shake only — as if the observer has instinctively stopped breathing. Animated on twos. Constraints: wolf pack is NEVER smoke, mist, or vapor — it has mass, weight, density, and speed — it is water and shadow. Wolf pack is NEVER a collection of individually animated animals — always a single fluid mass. DISTANCE MODE: mass coherence is absolute, individual wolves do not detach or become readable as separate figures. White teeth are the ONLY non-shadow element within the pack mass. Amber-yellow eye-points appear and extinguish in clusters, never individually. No warm light source anywhere in any frame. No rim light, no backlight, no moonlight — flat grey-white diffuse ambient only. No amber glow from forest reference applied. Camera handheld throughout — never stabilized, never smooth. Animated on twos throughout, no interpolation. 11 seconds total. 12fps. 8K. No music. SFX only. No subtitles. No 3D.show more

【Seedance2.0 4Kカリスマ - メンズダンステンプレ】 Dreamina( Dreamina AI )に4K来てたので使ってみました！ 15秒で1890クレジットでした😏... #DreaminaAI #DreaminaCPP メンズを踊らせたいメンツいるよなー？🔊😎 と、いうわけでイケメンを踊らせたい民の皆さま… こちらがメンズ用のマルチカットダンスプロンプトでございます。 （ちょっと人外のエグいパワームーブしてますが、2回4K使う度胸はなかったですw ） キャラクターシート1枚参照させて15秒ドンっです！ 👇 Prompt: Use the exact same character from the reference image. Preserve facial identity, hairstyle, outfit, colors, body proportions, silhouette, and overall design with absolute consistency in every frame. No redesigns. No facial drift. No outfit changes. 9:16 vertical format. The character performs an elite-level hip-hop dance performance with irresistible charisma, confidence, musicality, and effortless swagger. Dance style: premium commercial hip-hop, urban choreography, deep groove, musicality-driven movement, powerful chest isolations, sharp shoulder hits, controlled body waves, dynamic footwork, clean transitions, strong rhythm control, elite professional dancer quality. The performance feels natural, relaxed, stylish, and highly skilled. Never stiff. Never robotic. Continuous micro-groove throughout the performance. Natural breathing. Natural weight shifts. Authentic rhythm. Confident presence. The character commands attention from the very first frame. VIDEO STRUCTURE CUT 1 (0.0s–0.8s) Cowboy shot. The character is already moving when the video begins. Subtle groove active. At the first musical accent: sharp chest isolation, immediate shoulder hit, quick neck snap. The movement feels unexpected, precise, and highly skilled. Strong confidence. No posing. No stopping. CUT 2 (0.8s–3.5s) Full-body shot. The dancer explodes into groove-driven choreography. Strong bounce. Powerful rhythm. Clean footwork. Dynamic weight transfer. Large movement quality. Camera smoothly follows movement. CUT 3 (3.5s–5.5s) Low-angle hero shot. Large body roll. Strong directional movement. Powerful silhouette. Natural clothing movement. The dancer dominates the frame. CUT 4 (5.5s–7.5s) Medium cowboy shot. Focus on groove quality. Chest isolations. Shoulder grooves. Body waves. Clean musicality. Camera subtly tracks movement. Every accent feels satisfying. CUT 5 (7.5s–11.0s) Full-body performance section. Most impressive choreography. Traveling steps. Direction changes. Complex groove combinations. Elite dancer energy. Maximum visual impact. CUT 6 (11.0s–13.0s) Slow-motion sequence. Controlled body roll. Fluid body wave. Beautiful movement quality. Premium dance-film aesthetic. Elegant momentum. CUT 7 (13.0s–15.0s) Cowboy shot. The dancer advances toward the camera while continuing choreography. Confident swagger. Natural groove. Camera slowly pushes forward. Final musical accent. Strong finishing pose. Iconic ending frame. CAMERA STYLE Viral social-media dance cinematography. Fast pacing. Strong visual hooks. Character always remains dominant in frame. Alternating cowboy shots and full-body shots. Smooth tracking shots. Dynamic push-ins. Low-angle hero shots. No face close-ups. No unnecessary camera spinning. No empty establishing shots. No slow introduction. No static posing. VISUAL STYLE Luxury fashion campaign. High-end dance film. Premium music video production. Global superstar energy. Cinematic contrast. Rich blacks. Warm skin tones. Deep shadows. Subtle film grain. Beautiful skin rendering. Ultra photorealistic. 4K. Extremely detailed skin texture. Detailed fabric materials. Natural cloth simulation. Natural motion blur. Realistic inertia. Realistic weight transfer. Authentic professional dancer movement. 24fps. The final result should feel like a viral dance clip from a world-class performer, combining elite dance skill, irresistible charisma, cinematic quality, and maximum social media engagement.show more

Ice hits, can slams. Fizz explodes. Zero story, pure... product. SOLA — sparkling yuzu, hard cuts only. Made with Minimax H3 on Fish Creative Prompt: Flat 2D vector motion graphics commercial advertisement, 15 seconds, 16:9 widescreen, high energy product-focused ad style, zero storytelling, zero narrative arc, pure fast paced product hero showcase. Inspired by Pinterest botanical sparkling-can packaging (clean fruit-soda cans, Twist-style fruit fizz, Petali botanical soda, tropical mocktail cans) but fully original. Tokyo modern editorial pop with risograph print sensibility, refined premium energy, non-stop motion in every single frame, hard cuts only, no dissolves, no static holds until the final end card. Subtle paper grain and risograph ink texture throughout. Cool porcelain background base color hex F4F1EA, generous negative space, grid-aligned composition. Locked palette of three colors only: deep ink teal hex 123C3A, luminous citron hex E8F06A, pure white, plus faint ice-mint highlights. No other colors anywhere in frame. The product is a fictional sparkling yuzu soda brand called SOLA, a sleek deep teal can with a minimal white sun-burst yuzu slice emblem and a thin citron ring accent, consistent in every scene. AUDIO LAYER, drives the cut timing: warm punchy French-house-flavored electronic commercial track, four on the floor kick starting at 0.0s, bass drop synced to the can launch at 4.0s, whoosh sound effect on every camera whip pan, sharp crack sound effect on the can opening, fizzy sustained sparkle sound during the fizz explosion, deep sub bass thud on every impact and squash landing, glass clink sound effect on every ice cube landing, citrus peel snap on fruit slice hits, rising riser sound effect building into the logo lock, satisfying snap sound effect on the logo lock, music hits a full stop exactly on the final frame. SCENE 1, 0.0s to 1.0s: bold editorial open, a sweeping citron light ray wipes diagonally across the clean porcelain background in one confident motion, revealing a rising deep teal silhouette taking shape behind it, sharp and deliberate, zero clutter, premium controlled energy, a thin hairline teal rule draws itself across the lower third, kick drum hits exactly on the wipe. SCENE 2, 1.0s to 2.0s: hard cut, the silhouette snaps into full color and detail as the SOLA soda can in a single confident beat, condensation already gleaming on its surface as flat white crescent shapes, soft upward white rays radiating behind it, camera holds a slow deliberate push in, poised and polished rather than chaotic. SCENE 3, 2.0s to 3.0s: hard cut, the circular white yuzu-slice sun emblem with a citron ring flashes onto the can face with a sharp lens flare burst and a satisfying mechanical snap, one clean ring of citron light pulses outward once and fades, tiny white small-caps microtype arcs around the emblem, confident and premium. SCENE 4, 3.0s to 4.0s: quick controlled zoom out, the can now fully formed hangs centered and commanding in frame over vast porcelain negative space, camera whip reframes to hero angle, tension builds for one beat, bass drop hits exactly as the can launches. SCENE 5, 4.0s to 5.2s: hard cut, the can launches downward from its hover like a meteor, trailing a white ice crystal comet tail and curved teal speed lines, slams into center frame with heavy squash and stretch, ground cracks outward in a starburst pattern, radial citron and teal shockwave ring bursts from the impact point, sub bass thud lands on impact. SCENE 6, 5.2s to 6.2s: hard cut, six chunky white ice cubes cannonball into frame from both left and right edges in a fast alternating rhythm, each landing throws flat white splash droplets outward in a fan burst, glass clink sound effect on every landing, camera whip pans following the rhythm left then right. SCENE 7, 6.2s to 7.4s: hard cut, extreme close push into the can top, the tab cracks open in one sharp motion, crack sound effect syncs exactly to the open, a vertical explosion of white fizz and faint ice-mint sparkling soda rockets straight up past the top of frame, camera shakes once on the burst. SCENE 8, 7.4s to 8.8s: hard cut, three flat white yuzu wheels slice in from the top edge and pin themselves around the can in a tight orbit, each slice throws a thin citron juice arc, citrus peel snap on every hit, camera orbits 20 degrees around the hero can, still locked to 16:9 center. SCENE 9, 8.8s to 10.2s: hard cut, the can tilts and pours a graphic stream of white sparkling liquid into a waiting teal-outlined glass at lower right, liquid fills in stepped beats, ice cubes already inside bounce once, fizz beads climb the glass wall as small white dots, whoosh on the pour start. SCENE 10, 10.2s to 11.6s: hard cut, three matching SOLA cans slam into a tight diagonal product stack from off-frame, each lands with squash and a teal shock ring, middle can stays hero-size, condensation crescents multiply, camera whip to a low 16:9 product-shelf angle. SCENE 11, 11.6s to 13.2s: hard cut, bold teal wordmark SOLA slams on from the left as oversized editorial type, citron underline draws itself in one stroke beneath it, micro line YUZU SPARKLING snaps under in tiny white small-caps, riser builds hard. SCENE 12, 13.2s to 15.0s: hard cut to end card, single centered SOLA can, emblem locked, vast porcelain negative space, teal wordmark and citron ring lock into final position with a snap, one last white fizz sparkle flickers once at the can rim then freezes. Hold only on the last frame. Music stops dead on 15.0s.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

nijiJourneyV6 & seedance2.0でkawaii系MV🎵 みんなで踊るプロンプトを共有。15秒で5枚のリファレンスを使用💕 ✳️seedance2.0プロンプト Use the uploaded images... as the primary visual references for character design, facial style, color palette, graphic motifs, and overall kawaii-chaotic tone. 15-second music-video style animation, ultra cute and hyper pop, fast-paced, candy-colored, chaotic but readable, anime-inspired graphic motion. Main direction: The characters dance in a cute, playful, slightly chaotic “mob dance” / “idol crowd dance” feeling. The motion should feel inferred naturally from the reference images, not rigid choreography. Emphasize fast switching expressions, group-like energy, rapid cut transitions, and a dense pop visual atmosphere. Visual style: Pastel neon palette, pink, cyan, lemon yellow, mint, lavender. Bold clean outlines, flat shading, sticker-like icons, bows, flowers, sparkles, spirals, abstract shapes, pop symbols, glitchy accents, halftone dots, split panels, manga-like framing, layered collage feeling. Cute and stylish chaos, not horror, not grotesque. Character motion: Generate adorable dance movement with small bouncy steps, side-to-side body sway, quick hand poses, synchronized hops, idol-style gestures, playful pointing, little spins, shoulder pops, head tilts, wink poses, cheerful bouncing, cute rhythmic stepping.The dance should feel like a spontaneous cute flash-mob or idol crowd routine, with repeated shared gestures, group energy, and playful synchronized timing. Include moments that feel like a crowd dance or mob dance, even if only one or a few characters are visible at a time. The dance should feel energetic, spontaneous, and rhythm-driven. Expression direction: Rapid expression changes: smile, wink, surprised face, excited open-mouth face, mischievous grin, hypnotic stare, sparkling eyes, dizzy spiral-eye mood, overjoyed face, playful chaos. Expressions should switch quickly with the cuts, giving a hyperactive kawaii feeling. Editing / camera: Very fast-cut visual rhythm. Use rapid cut-ins, jump cuts, smash zooms, push-ins, pull-backs, diagonal framing, split-screen panels, close-ups of faces, occasional medium shots for dance, and layered pop composition. Cuts can change every 0.2 to 0.8 seconds. Alternate between close-up face shots, upper-body dancing, and brief group/crowd-energy compositions. The camera should feel lively and music-synced. Scene flow: 0–3s: Introduce the character(s) with fast close-ups, blinking, cute smile, eye highlights, bows/flowers/icons popping in, fast panel cuts. 3–6s: Start the dance with small synchronized idol-like motions, side steps, hand poses, bouncing shoulders, quick expression switches. 6–9s: Increase the chaos. More split panels, more characters or crowd-energy feeling, fast alternating expressions, quick hops, spins, and rhythmic pose changes. 9–12s: Peak energy. Cute mob-dance vibe, dense visual layering, multiple rapid cut-ins, close-up reaction faces, synchronized bounce and gesture-heavy movement. 12–15s: Final climax. Maximum kawaii chaos with energetic dancing, smiling faces, wink, big pose finish, layered pop symbols exploding around the frame, ending on a strong cute final pose. Important priorities: Keep the characters cute and appealing at all times. Preserve readability of faces and silhouette. Let the dance and expressions feel naturally inferred from the references. The chaos should come from editing, framing, layered motifs, and rapid expression changes, not from broken anatomy or visual confusion. Negative prompt: horror, dark tone, realistic style, grotesque face, body deformation, extra limbs, broken hands, scary expressions, dull colors, muddy palette, slow motion, empty background, overly realistic physics, unreadable face, low energy, depressing mood.Make the choreography feel partially AI-inferred from the visual mood of the references: cute, chaotic, rhythmic, slightly unpredictable, but always charming and musically coherent.show more