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Let me share my current Seedance 2 workflow You can also copy this base template to your Claude and teach him to prompt on Seedance 2 [CINEMATIC SETUP] [Film stock / lens / aperture / camera behavior]. [Color grade]. [Lighting source]. [Atmosphere]. [Audio: sound FX only / no music]....

55,660 Aufrufe • vor 6 Monaten •via X (Twitter)

36 Kommentare

Profilbild von INK
INKvor 6 Monaten

1. Character Concept is made with Midjourney niji7 Villain details Mecha, full character design, kawaii illustration, white background, flat colors, simple lines, gorgeous lighting, graphic novel style, 2d painting, ink painting style, trending on art station, digital art, character design, happy mood, watercolor, minimalist --ar 4:5 --niji 7 I added my previous characters as references

Profilbild von INK
INKvor 6 Monaten

2. Final character design is made with Nano Banana 2 prompt with character concept linked Convert to hyper-realistic 3D CGI collectible figurine render. Physically-based rendering, octane render quality. Preserve the original character design, pose, and outfit exactly. Transform all surfaces into real-world materials: fabric with visible weave and drape, metal with wear, scratches and oxidation, synthetic matte skin. Pure white studio background, clean seamless white backdrop, soft diffused lighting with subtle rim light. No cel shading, no toon rendering. High-end statue/collectible photography aesthetic. Ultra detailed, 8K. Fix and reconstruct all hands and fingers with correct anatomy: natural finger count, proper joint articulation, realistic proportions, no fused or melted digits. Remove all 2D artifacts, compression glitches, and Midjourney inconsistencies. Ensure full anatomical coherence across the entire figure: symmetrical features, clean silhouette, no floating elements, no distorted limbs, no duplicated body parts. Hyper-detailed hair simulation: individual strand rendering, realistic hair clumping, natural flow and gravity, visible scalp at roots, micro flyaways, SSS translucency on hair tips. Every surface pushed to maximum realism: pore-level skin texture, fabric fiber micro-detail, specular highlights on every material, depth in shadows

Profilbild von INK
INKvor 6 Monaten

3. I usually create multiple sequences to build the video, then cut the incoherent shots. I edit on Davinci Resolve, it's really easy to use. SEQUENCE 1 — Armor Construction (0-15s) CINEMATIC SETUP 35mm film stock, Panavision anamorphic, f1.8. Live-action sci-fi blockbuster, 4K HDR. Industrial hangar — cold steel blue light, steam vents, hydraulic hiss. Slow deliberate tracking camera mixed with extreme macro close-ups. Sound FX only: mechanical assembly, servo motors, metal locking clicks. REFERENCES [@ image1] is the hero: young male, blonde slicked hair, aviator goggles on forehead, black turtleneck, white jacket, black trousers, black loafers. Face composed, determined throughout. [@ image2] is the mech armor: weathered pale blue-grey metal, rust patches, wide shoulder wings, heavy limbs, battle-worn surface. negative: no face morph, no costume disappearing, no armor floating 0-2s: Wide shot. [@ image1] walking forward through industrial hangar, hands in pockets, pace steady and calm. Steam rising from floor grates. Mechanical arms emerging from ceiling tracks above him. Distant hydraulic hum building. 2-3s: Macro — mechanical arm close-up, side angle. Claw gripping first [@ image2] armor chest plate, lifting it precisely into position. Metal scrape, servo whir. 3-4s: Macro — chest plate locking onto [@ image1]'s torso from behind. Hydraulic clamp sound, deep metal thud. [@ image1] doesn't break stride. 4-5s: Macro — [@ image1] hands, close-up. Fingers slowly pulling out of jacket pockets as shoulder plates descend. Gauntlet snapping over each hand. Metal click, pressure hiss. 5-7s: Side tracking shot — [@ image1] still walking, multiple mechanical arms working simultaneously. Left shoulder wing plate attaching, right arm armor locking. Steam bursting from joints on contact. Assembly hum intensifying, overlapping metal locks. 7-8s: Macro — boot close-up at floor level. [@ image2] armored boot casing snapping over his black loafer mid-step. Ground-level tracking. Heavy armored footstep boom replacing soft leather step. 8-9s: Macro — back of neck and helmet descending. Aviator goggles visible one last time before [@ image2] helmet lowers over his head. Visor sealing shut. Pressurization hiss, helmet lock click. 9-11s: Front medium shot — [@ image1] now fully encased in [@ image2] armor, still walking forward. Mechanical arms retracting back into ceiling. Only armored footsteps remain. Steam settling. Silence except deep reactor pre-charge hum beginning. 11-13s: Extreme close-up — visor surface. Cold blue hangar light reflecting. Inside visor: HUD elements flickering on, targeting systems initializing. Electronic boot sequence sound. 13-15s: Wide shot from behind — [@ image1] in full [@ image2] armor walking toward massive closed garage door at end of hangar. Door fills entire frame. He stops. Stands still. Reactor hum building to maximum. Hold. SEQUENCE 2 — Launch (0-15s) CINEMATIC SETUP IMAX 70mm, Panavision anamorphic, f2.8. Live-action blockbuster, 4K HDR. Industrial hangar transitioning to blinding exterior light. Camera starts static then erupts into kinetic energy. Sound FX only: reactor ignition, metal door mechanism, heat distortion roar. REFERENCES [@ image1] hero in full [@ image2] armor throughout — weathered pale blue-grey mech, wide shoulder wings, battle-worn surface. Back to camera entire sequence. [@ image3] is the hangar door environment: sci-fi garage opening onto elevated highway infrastructure, bright daylight, yellow safety barriers, clean concrete floor. [@ image4] is the armor detail reference: cream-white mech suit, wide angular shoulder wings, dual antenna helmet, orange visor glow, battle scratches, mechanical arms visible in background — use for armor surface accuracy. negative: no face visible, no armor color change, no hangar collapse, no floating limbs 0-2s: Wide shot from behind — [@ image1] in full [@ image2] armor, completely still, centered in closed [@ image3] hangar doorframe. Reactor on back beginning to glow orange. Mechanical arms from [@ image4] environment retracting into ceiling behind him. Low reactor charge building. Steam rising from shoulder joints. 2-3s: Macro — reactor vents on back armor, referencing [@ image4] surface detail. Heat shimmer visible around exhaust ports. Orange glow intensifying, scratched cream-white metal radiating heat. Deep turbine spin-up. 3-4s: Macro — armored fists at sides, [@ image4] detail. Fingers slowly closing. Metal creak, hydraulic tension hiss. 4-5s: [@ image1] back to camera, facing closed door. Head tilts slightly down. One beat silence. Then: "Let's go." Voice low, calm, helmet reverb. Single heavy armored footstep forward. Floor vibrates. 5-6s: [@ image3] garage door EXPLODES open — massive panels slamming upward. Blinding daylight floods in. [@ image1] silhouetted against bright sky and elevated highway of [@ image3]. Door mechanism slam, pressure burst. 6-7s: Macro — reactor ignition full power, [@ image4] exhaust port detail. Superheated flame blasting outward. Camera directly behind, heat shimmer warping entire frame. Jet turbine scream erupting. 7-8s: Macro — ground level. [@ image3] yellow safety barriers visible at frame edge. Armored boots on clean hangar floor, superheated air rippling surface. Concrete micro-cracking. Roar intensifying. 8-9s: Macro — [@ image4] shoulder wing edge, side profile. Heat shimmer along leading edge, orange reactor glow painting scratched cream surface. Turbine maximum. 9-11s: Front reveal — camera outside [@ image3] looking in through open door. [@ image1] in full armor, reactor blazing, framed in doorway. Beyond him: elevated highway infrastructure of [@ image3] stretching into distance — concrete pillars, banked curves, open sky. He stands motionless in threshold. Reactor scream, wind from outside rushing in. 11-13s: Low angle from [@ image3] ground level — looking up at [@ image1] from outside. Elevated highways behind him. Reactor exhaust blasting downward, heat waves rising. Silhouette against bright sky, shoulder wings wide. 13-15s: Wide cinematic — [@ image1] launches forward out of [@ image3] hangar at extreme speed. Camera holds static as he rockets away, reactor trail burning white-orange, shrinking into the elevated highway distance. Sonic boom, speed rush, silence. Image1 is the final character design and Image2 is an image of a circuit.

Profilbild von INK
INKvor 6 Monaten

No one is an expert so if you have any other recommendations or tips you’ve discovered, I’m interested

Profilbild von Barrak
Barrakvor 6 Monaten

Sharing the exact prompt template that gets cinematic results is the kind of generosity that accelerates the entire AI filmmaking community.

Profilbild von Demini AI
Demini AIvor 6 Monaten

I use your prompt for 3D it is nice! TY

Profilbild von Heather Cooper
Heather Coopervor 6 Monaten

Nice workflow! Thanks for sharing 😊

Profilbild von INK
INKvor 6 Monaten

You’re welcome

Profilbild von Elias
Eliasvor 6 Monaten

Thank you mr INK

Profilbild von INK
INKvor 6 Monaten

you're welcome

Profilbild von Zaffar
Zaffarvor 6 Monaten

this is one of the best videos I’ve seen made with Seedance 2.0, the scene quality is soo close to a high-budget film, sick work as usual 🙌

Profilbild von Atiko 💎
Atiko 💎vor 6 Monaten

Powerful

Profilbild von Prasad G
Prasad Gvor 6 Monaten

Nice workflow, loved it 👌

Profilbild von Carmelo Cabrera
Carmelo Cabreravor 6 Monaten

Dude! That was insanely DOPE!!!

Profilbild von Wan Utama official
Wan Utama officialvor 6 Monaten

Clean execution!

Profilbild von Benjamin De Ridder
Benjamin De Riddervor 6 Monaten

super helpful for users...

Profilbild von AAT!!! Artworks
AAT!!! Artworksvor 6 Monaten

Super dope bro

Profilbild von Elias H
Elias Hvor 6 Monaten

thx bro

Profilbild von « 𝗢 ʙ ꜱ ᴄ ᴇ ɴ ᴇ ꜱ ᴇ ʟ ᴇ ɴ 𝗘 »
« 𝗢 ʙ ꜱ ᴄ ᴇ ɴ ᴇ ꜱ ᴇ ʟ ᴇ ɴ 𝗘 »vor 6 Monaten

That's a nice buttery smooth frame rate you got there.

Profilbild von MARCOLOGY
MARCOLOGYvor 6 Monaten

Beautiful. Nice work!

Profilbild von Wonder Villas
Wonder Villasvor 6 Monaten

Nice work. Seeing this makes me want to jump straight into Seedance 2, but I need to finish my current projects and hit deadlines first.

Profilbild von EarnFormation 🇿🇦
EarnFormation 🇿🇦vor 6 Monaten

This is fucking MINT!!! 🔥

Profilbild von Saints of the Sage
Saints of the Sagevor 6 Monaten

No wonder Hollywood has its panties in a wad.

Profilbild von Horace Dodd
Horace Doddvor 6 Monaten

Dope setup🔥Thanks for sharing INK

Profilbild von Max ✦
Max ✦vor 6 Monaten

Overwatch vibe so hard

Profilbild von petroltako
petroltakovor 6 Monaten

Hot damn this is amazing

Profilbild von LudovicCreator
LudovicCreatorvor 6 Monaten

Very interesting

Profilbild von Genova AI
Genova AIvor 6 Monaten

Well done 🫡Really thanks for sharing 🤗

Profilbild von Jesus Plaza
Jesus Plazavor 6 Monaten

It’s the first video in a while that I rewatch several times at normal speed on X. Congrats. Great work

Profilbild von INK
INKvor 6 Monaten

Happy you like it

Profilbild von Deep Prompt Cinema
Deep Prompt Cinemavor 6 Monaten

The 4k is stunning. Is that 50 / 60 FPS too?

Profilbild von Se te le os Le ris
Se te le os Le risvor 6 Monaten

How did you get this super-smooth frame rate?

Profilbild von KiriKev
KiriKevvor 6 Monaten

Incredible Thank you!

Profilbild von Maercih
Maercihvor 6 Monaten

It is awesome

Profilbild von EdwinLu711
EdwinLu711vor 5 Monaten

How bro

Profilbild von Rebel 🏴‍☠️
Rebel 🏴‍☠️vor 5 Monaten

Words cannot express how much I appreciate you doing this. 🙏🏻🙏🏻🙏🏻🙏🏻

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i built a way to make full ai films with seedance 2.5 + higgsfield without shooting a single frame in real life you start with a screenplay, a treatment, or even just an idea and it gives you an actual production plan: scenes, shots, character references, locations, dialogue, b-roll, sound, captions, everything you need to turn it into a finished film this was supposed to stay internal but f*ck it, i’m sharing the whole workflow here’s how it works: the script gets broken down scene by scene, then every scene gets turned into a proper shot list with prompts that account for character continuity, wardrobe, lighting, locations, camera movement, pacing, and what needs to happen before and after that shot those prompts get run through seedance 2.5, using reference assets and longer generations to keep the film feeling like one world instead of a thousand random ai clips stitched together then the footage gets assembled with voice, sound design, music, dialogue, captions, and transitions into an actual watchable film the whole system is built to take you from script to a finished film seedance 2.5 is coming soon on higgsfield, but i’m sharing the full breakdown before it so you can be prepared: the script-to-scene system that turns a screenplay into a real production plan seedance 2.5 prompt setup for cinematic shots and consistent characters the reference-asset workflow for keeping faces, wardrobe, locations, and visual style locked in the editing, voice, sound, and caption workflow that turns generated clips into a finished movie RT + reply “FILM” and (i’ll send it over must follow so i can dm)

Sulfur

49,065 Aufrufe • vor 1 Monat

What a ride! Made by using GPT Image 2 + Seedance 2.0 on Fish Creative Prompt reference_handling: "Image generation strictly for driver facial and wardrobe styling reference only — calm, composed features silver wristwatch on left wrist Image strictly for sports car styling and cabin reference only — low, wide Italian wedge-shaped body + bright yellow paint + strongly geometric body lines + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin (driver seat on left) + across this sequence the driver-side window (left side of car) is rolled down only for the cockpit reveal shot, all other windows remain as-is throughout. Image strictly for spire architectural geometry, Dubai downtown skyline, and warm hazy midday atmosphere reference only — tapered glass-and-steel spire that widens progressively toward the base + dense glass high-rise skyline below + wide multi-lane boulevard. Do not reproduce any specific camera angle, composition, or caption elements from the reference images" style: "REAL AERIAL + AUTOMOTIVE CINEMATOGRAPHY PLATE — not CGI rendering, not game-engine rendering, not an animated/illustrated look." visual_feel: "Strong overhead midday light + warm hazy atmosphere softening the horizon. Color strictly natural and true-to-life — not oversaturated, not faded, not washed out. Continuous soft haze and atmospheric layering from spire tip down to street level. Every camera move, whether aerial or ground-tracking, strictly gimbal-level smooth — absolutely no handheld feel, no shake, no roll or tilt, even during the FPV-paced dive segment or the accelerating side-pass segments. 16:9 frame + no stylized film-grain treatment, aiming for genuine cinematography texture across every shot" duration: "30 seconds (8-shot sequence)" aspect_ratio: "16:9" character_modeling: driver_suited_woman: base: " appearance and wardrobe strictly per Image generation reference. Present in the car throughout the sequence, but the face is strictly clearly visible only during the 0:20–0:21 cockpit reveal shot — in every other shot the face is strictly not shown or not resolvable, whether by camera position, angle, or framing" wardrobe: silver wristwatch on left wrist . complete, with no wrinkling, misalignment, or missing pieces throughout" presence: "In shots where the driver is not the subject (0:01–0:19, 0:22–0:30), the driver strictly remains seated in the left-side driving position, present but strictly not resolved facially due to camera side, distance, or angle. During the 0:20–0:21 cockpit reveal shot only, the face and posture are strictly fully clear — visibility achieved via a right-side cockpit camera position looking across the cabin, with natural light and open sightline entering through the already-lowered driver-side window (left side of car) forming an angled depth-of-view channel — strictly NOT via looking directly through a window immediately adjacent to the camera" sports_car_yellow: identity: "Low, wide Italian wedge-shaped supercar + bright yellow paint + strongly geometric body + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin, driver seat on left — appearance strictly per image2 reference. Strictly only this one car appears across all 8 shots + doors strictly closed throughout + strictly only the driver-side window (left side of car) is rolled down, and only for the 0:20–0:21 cockpit shot + all other windows strictly remain closed/unchanged throughout + left-hand-drive position strictly remains on the left side of the car in every shot — not mirrored, not flipped, regardless of which side the camera is on" physics: "In every shot showing the car in motion, tires strictly show real, visible load deformation on turns + suspension strictly compresses and rebounds continuously with road surface undulation + body strictly shows slight roll and pitch matching cornering or acceleration — strictly not a rigid-glide, zero-deformation model feel. The car strictly stays lane-centered along the boulevard's true path — strictly no crossing lines, no drifting, no hugging the curb" environment_spire_and_skyline: setting_lock: "Tapered glass-and-steel spire structure — body progressively widens toward the base + spire tip is the sequence's starting point + below is Dubai downtown's dense glass high-rise skyline and wide multi-lane boulevard + warm hazy midday light, architectural geometry, skyline, and atmosphere strictly per image3 reference. Shot 1 (0:01–0:12) strictly covers the spire exterior and the high-altitude-to-street transition. Shots 2–8 (0:12–0:30) strictly take place entirely at street level, on or beside the boulevard, with the skyline visible as background context only" cinematic_storyboard: shot_1_spire_descent_0_01_0_12: camera: "Continuous aerial dive — the same FPV-paced descent arc as the master establishing move: 0:01–0:02 camera approaches and briefly hovers directly above the spire tip, gimbal strictly steady, no roll or tilt. 0:02–0:12 camera descends along one continuous curved arc, vertical speed component smoothly decaying while horizontal speed component smoothly increasing, no perceptible docking point or speed jump. As the arc resolves near street level, the camera settles into a position that spotlights the yellow car on the right side of frame — car held in the right third of the composition as the shot closes. Lens strictly 35–50mm cine prime throughout, no zoom, no digital zoom, straight architectural lines keep true perspective." action: "Spire tip and city grid fill the frame at the open, then dissolve into recognizable streets and blocks as the dive continues. The yellow car appears as a small point mid-descent and grows continuously larger, coming to rest spotlighted on the right side of frame by 0:12, driving forward along the boulevard, wheels rotating forward, no reverse." lighting: "Strong overhead midday light at the spire tip with long shadows; as the descent continues, glass-facade and ground reflections shift continuously and smoothly with the changing angle — no abrupt lens-flare flicker." vfx: "Ground detail and color progressively sharpen through the descent, no sudden clarity jump. Ground shadows strictly limited to the car's own cast shadow — no operator or camera-rig shadow anywhere in frame." sfx: "High-altitude wind roar at the open, fading continuously into rising engine sound and city ambience as the car comes into view. No music, no voiceover, no captions." shot_2_side_pass_0_12_0_15: camera: "Hard cut to a static lateral profile position — camera holds a fixed side-view framing of the car, 35–50mm cine prime, gimbal-locked, no handheld sway. As the car accelerates, the camera lets it pull ahead and overtake past the camera's position, exiting frame screen-right." action: "Car holds briefly in profile, then accelerates hard — visible squat of the rear suspension under acceleration, tires gripping without slip, body pitching slightly rearward under load — before overtaking and leaving frame past the camera." lighting: "Even natural daylight, sun still overhead-midday, car's yellow paint reading true and saturated against the boulevard背景, no flat frontal wash." vfx: "Real suspension compression and rebound as the car surges forward. No motion blur artifacts beyond natural shutter response; no CG float." sfx: "Engine note rises sharply with the acceleration, a clean Doppler pass as the car overtakes the camera position; no music." shot_3_center_mirror_0_15_0_17: camera: "Hard cut to an interior point-of-view through the car's center rear-view mirror — camera framed as if looking through the mirror glass from just behind/above the driver's eyeline, mirror surface visibly framing the receding view." action: "Through the mirror, the boulevard and the Dubai skyline recede behind the car as it continues forward at speed; slight natural mirror-glass vignette at the frame edge." lighting: "Cabin interior in soft ambient light, mirror glass reflecting the bright exterior daylight and skyline without glare washing out the reflected image." vfx: "Mirror reflection stays optically clean and stable — no double image, no warping; road and skyline motion in the reflection reads as physically continuous with forward travel." sfx: "Muffled cabin-interior tone to engine and wind noise (heard as if from inside the car); no music, no dialogue." shot_4_front_view_0_18_0_19: camera: "Hard cut to a nose-on front view of the car — camera positioned directly ahead on the boulevard, framing the grille, headlights, and hood centered in frame, lens 35–50mm cine prime, static or minimal push, gimbal-steady." action: "Car approaches head-on at a steady, controlled speed, Y-shaped LED headlights and hexagonal intake clearly readable, wheels visibly rotating forward." lighting: "Overhead midday sun catches the hood and windshield with clean natural highlights, no artificial front-fill look." vfx: "Subtle heat-haze shimmer off the hot asphalt ahead of the car for realism; no CG gloss on the paint." sfx: "Engine sound growing louder as the car closes distance toward camera; no music." shot_5_cockpit_reveal_0_20_0_21: camera: "Hard cut to a right-side cockpit angle — camera positioned to the right-front of the car, sightline crossing through the windshield and, aided by the already-lowered driver-side (left) window, resolving the driver clearly inside the cabin. This is the sequence's only driver-reveal shot." action: "Driver's face and posture are fully visible — one hand resting lightly on the wheel, eyes on the road ahead, expression calm and composed, natural unstiff posture. Car maintains the same forward direction and steady speed with no lens or vehicle behavior change during the shot." lighting: "Even natural daylight, light falling cleanly across the yellow paint, windshield, and driver's face; windshield reflection kept light enough not to obscure visibility." vfx: "Windshield glass stays transparent and reflection-light, no glare occlusion of the driver." sfx: "Steady engine hum plus faint city ambience; strictly no dramatic sound swell or music entering at the reveal moment." shot_6_straight_road_rear_3_4_0_22_0_24: camera: "Hard cut to a rear-bumper 3/4 angle — camera positioned low and behind, off to one side, framing the car driving away down a straight stretch of boulevard, lens 35–50mm cine prime, gimbal-smooth tracking that holds pace with the car." action: "Car drives straight down the boulevard at a steady cruising speed, lane-centered, taillights and rear three-quarter bodywork clearly visible, wheels rotating forward, no drift or lane departure." lighting: "Overhead midday sun, road surface and rear bodywork evenly lit, skyline visible in soft haze in the background." vfx: "Light heat-shimmer off the straight road surface; ground shadow strictly limited to the car's own cast shadow." sfx: "Steady, sustained engine tone at cruising speed plus ambient city sound; no music." shot_7_side_pass_0_25_0_28: camera: "Hard cut back to a static lateral profile position, mirroring shot 2's setup — camera holds the side view of the car, gimbal-locked, no handheld sway." action: "Car holds briefly in profile again, then accelerates a second time and overtakes past the camera, exiting frame — same physical behavior as the first side-pass (visible suspension squat, tire grip, body pitch)." lighting: "Consistent overhead midday daylight, same natural exposure as shot 2 for continuity." vfx: "Real suspension compression and rebound under acceleration; clean natural motion, no CG float." sfx: "Engine note rising sharply into the pass, clean Doppler effect as the car overtakes camera; no music." shot_8_static_3_4_close_0_29_0_30: camera: "Hard cut to a static, locked-off 3/4 angle — camera fixed in position, no movement, gimbal-perfect stillness, framing a 3/4 view of the boulevard as the car enters and exits frame to close the sequence." action: "Car drives through the static frame at a steady speed and exits, completing the sequence; wheels rotating forward, no reverse, no lingering hold after exit." lighting: "Same consistent overhead midday daylight and natural color grade as the rest of the sequence, no shift in exposure for the closing shot." vfx: "Ground shadow strictly limited to the car's own cast shadow; no operator or rig shadow in frame." sfx: "Engine sound passing through and fading as the car exits frame; no music, no voiceover, no captions at any point in the closing shot." production_notes: multi_shot_cut_lock: "This sequence is strictly 8 distinct shots joined by hard cuts at the following points: 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no smooth transitions, no cross-dissolves, no whip-pans between shots, no morphing between camera setups. Each shot is a clean cut to a new fixed or moving camera setup as specified; only shot 1 (0:01–0:12) is itself one continuous unbroken aerial move. Across every cut, the following must remain continuous: the car's identity and paint color, the boulevard geography and skyline, the direction of travel, the lighting direction and quality, and the absence of music/dialogue/captions." gimbal_stabilization_lock: "Every shot, aerial or ground-based, strictly holds gimbal-level smoothness — absolutely no handheld shake, no roll, no tilt, no high-frequency jitter, in any of the 8 shots, including the accelerating side-pass shots." optics_lock: "Every ground/tracking shot strictly uses a 35–50mm cinema prime feel (Sony Cine prime lens character), unchanged within each shot — strictly no zoom in, no zoom out, no digital zoom of any kind in any shot. Straight lines of buildings and roads strictly retain true perspective — strictly no wide-angle distortion, no fisheye curvature." forward_motion_lock: "In every shot, the car strictly drives forward — nose pointed in the direction of travel except where explicitly framed nose-on toward camera (shot 4), and never reversing. Wheels strictly rotate continuously in the direction of travel, reverse rotation strictly forbidden in any shot." vehicle_structural_identity_lock: "Strictly only this one car appears across all 8 shots — a second car of the same or different model is strictly forbidden. Doors strictly remain closed in every shot. Left-hand-drive layout strictly remains unchanged across all 8 shots — driver's seat strictly on the left side of the car in every shot, never mirrored or flipped regardless of camera side. The driver-side (left) window is strictly rolled down only during shot 5 (cockpit reveal, 0:20–0:21); in every other shot all windows strictly remain closed/unchanged." driver_appearance_window_lock: "The driver's face is strictly clearly visible only during shot 5 (0:20–0:21) — in shots 1–4 and 6–8 the face is strictly not resolved, whether due to distance, angle, motion, or framing. During shot 5, visibility is strictly achieved via the right-side cockpit camera angle through the windshield, aided by the already-lowered driver-side window — strictly NOT via a window directly facing the camera." no_operator_shadow_lock: "In every shot, the ground strictly shows only the car's own cast shadow — strictly no human-shaped shadow, camera-operator silhouette, photographer's figure, or rig shadow cast anywhere in any of the 8 shots. The aerial shot (shot 1) is strictly pure drone photography with no physical rig or ground-crew trace; the ground shots (2–8) are strictly framed with no visible operator, crew, or equipment in frame." audio_lock: "Sound throughout the sequence is strictly authentic diegetic sound only — wind, engine, and city ambience, shifting naturally shot to shot — strictly no background music or score of any kind, including any hidden musical layer, in any of the 8 shots + strictly no voiceover or dialogue of any kind + strictly no captions or on-screen text of any kind at any point." critical_constraint: "8 hard-cut shots across 30 seconds, cut points strictly at 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no dissolves or blended transitions. Shot 1 is one continuous uncut aerial descent from the spire tip to street level, ending with the car spotlighted screen-right. Shots 2 and 7 are matching static side-profile setups where the car accelerates and passes the camera. Shot 5 is the sequence's only driver-face reveal, via the right-side cockpit angle through the windshield with the driver-side window down — strictly not visible in any other shot. The car is strictly the same single yellow LHD supercar throughout, doors closed except for the driver-side window during shot 5, always driving forward, wheels never reversing. All camera work is strictly gimbal-smooth with a 35–50mm cine-prime feel, no zoom, no distortion, no handheld shake in any shot. Ground shadows throughout strictly show only the car's own shadow, no operator or rig trace. Audio is strictly diegetic only — no music, no voiceover, no captions, throughout the entire 30 seconds." avoid: "dissolves, cross-fades, morphs, or whip-pans between shots — cuts must be hard cuts only, any shot other than shot 5 showing the driver's face clearly, the driver-side window rolled down in any shot other than shot 5, the passenger-side or any other window rolled down at any point, a second car appearing in any shot, car doors opening in any shot, the car reversing or wheels rotating backward in any shot, mirrored or flipped left-hand-drive layout, driver's seat appearing on the right side of the car, human-shaped shadow, camera-operator silhouette, or rig shadow in any of the 8 shots, camera shake, handheld feel, roll, tilt, or high-frequency jitter in any shot, zoom in, zoom out, digital zoom, wide-angle distortion, fisheye distortion, or curved building/road lines in any shot, smooth continuous single-take treatment of the whole 30 seconds (the sequence is strictly multi-shot with hard cuts, not one unbroken take beyond shot 1), background music, score, melody, hidden musical layer, voiceover, dialogue, narration, captions, or on-screen text at any point, CGI-rendered look, game-engine feel, plasticky car-paint gloss, static hovering with no sense of gravity" animation_style: "Shot 1 plays out as one continuous real-time aerial move; shots 2–8 are each a distinct, clean hard-cut setup, every shot internally in real time with no speed ramping — the sense of pace across the sequence comes from the editing rhythm of the cuts, not from slow motion or time manipulation within any single shot"

Aaliya

11,907 Aufrufe • vor 1 Monat

📖THE SEEDANCE 2.0 PROMPT FORMAT THAT NOBODY IS USING BUT EVERYONE SHOULD Most people use Seedance 2.0 wrong. They type a normal prompt and wonder why the result looks generic. The difference between these two visuals isn't a better idea — it's a better prompt format. Normal prompt gives you a good result. JSON prompt gives you a cinematic one. Here's why it works: A normal prompt describes what you want. A JSON prompt tells Seedance exactly how to build the scene — camera movement, lighting angle, atmosphere, texture, depth, timing. You're not asking for a video. You're engineering one. The crystal dolphin jumping above an ancient courtyard with floating jellyfish — same concept, two completely different outputs. The JSON version has golden hour, dramatic clouds, volumetric light, and a sense of scale the normal prompt never reached. The glowing lotus fountain — same story. Normal prompt gives you a clean render. JSON gives you a full cinematic frame with layered depth, warm lantern light, and a composition that looks like it belongs in a feature film. The workflow that produces this: • Step 1 — Write your scene idea in plain language first •Step 2 — Ask Claude to convert it into a structured JSON prompt with fields for: subject, environment, camera, lighting, mood, motion, color grade • Step 3 — Paste the JSON into Seedance 2.0 • Step 4 — Take the best clip into Premiere Pro for final color correction and sound design The tools are free or cheap. The knowledge of how to prompt is what separates the results. This is the gap most creators never close. 📥 BACK TOMORROW. There will be new life hacks 🔖 The full guide is pinned below. Save it before you need it.

Zentrix⌚️

136,911 Aufrufe • vor 3 Monaten

POV: You don't need a film crew to make a World Cup commercial anymore. From a simple idea to a cinematic football story—powered entirely by AI. Made with Kling 3.0 on Pollo AI Prompt: PART 1 (0:00–0:15) | 16:9 | Cut Scenes 0:00–0:03 | Wide Living Room Camera: Slow handheld dolly-in. TV visible behind Jessy. Action: Jessy lounges watching Argentina vs Brazil, tosses popcorn at the TV after a bad pass. Dialogue: Jessy: "Come on!" Audio: Stadium crowd, commentator, room ambience. 0:03–0:06 | Over-the-Shoulder Camera: Medium OTS toward the TV. Action: The player stops, looks directly at Jessy, smiles. She grabs the remote. Dialogue: Jessy: "Wait... me?" Audio: Crowd softens, remote click. 0:06–0:10 | TV Exit Camera: Medium-wide tracking shot. Action: TV ripples like water as the player steps into the living room. Jessy freezes. Dialogue: Player: "Nice place." Audio: Water ripple, boots on floor, TV commentary. 0:10–0:15 | Couch Camera: Medium two-shot. Action: Jessy quietly sits back as the player casually joins her on the couch. Dialogue: Jessy: "...Okay." Audio: Stadium ambience. Cut. PART 2 (0:15–0:30) | Cut Scenes 0:15–0:18 | Watching Together Camera: Medium two-shot. Action: They watch the match in silence. Dialogue: Player: "Brazil's shaky." Jessy: "Yeah..." Audio: TV crowd and commentary. 0:18–0:21 | Realization Camera: Alternating close-ups. Dialogue: Jessy: "You're playing." Player: "Break time." Audio: Stadium crowd building. 0:21–0:25 | Goal Celebration Camera: Handheld whip-pan. Action: Argentina scores. The player jumps up, sending popcorn everywhere. Dialogue: Player: "GOAL!... Oops." Jessy: "Seriously?" Audio: Massive crowd roar, popcorn scattering. 0:25–0:30 | Hallway Camera: Follow, then slow pullback to wide. Action: The player heads toward the hallway. Jessy watches the TV—his position on the pitch is empty. Dialogue: Player: "Bathroom?" Jessy: "Second left." Jessy (to herself): "...Sure." Audio: Boots clicking, TV commentary, fade to black. #PolloAI #BringTheWorldCupHome #WorldCup2026

Jessica Collins

43,567 Aufrufe • vor 3 Monaten

Nobody's talking about the Claude trick that fixes every Seedance 2.0 video mistake. A cinematic action scene, an animated sequence, a product ad, and a dialogue scene are completely different types of content. Different camera language, different pacing, different reference logic. Most people try to force all of it through one universal prompt. The fix turns out to be simpler than expected: Claude Skills. It's not some secret hack. It's a file of instructions you load into Claude for one specific type of task. Once it's loaded, Claude stops acting like a general assistant and starts thinking like an expert in that one niche — with its own set of rules for that scene type. Here's what that looks like in practice: ▪ Cinematic skill — generates real camera language: dolly moves, crane shots, rack focus, shot discipline across multiple cuts. Test: a medieval battle between two armies, 15 seconds, dark fantasy. Result — three shots with the shot logic of an actual film, not just "epic battle" typed as text. ▪ Animation skill — locks in style and physics before a single shot is built. One test: a rain-soaked shonen fight in the style of Tokyo Revengers. Another: a quiet Ghibli-style farm scene. Same skill, completely different visual output — because the style gets fixed at the very top of the prompt. ▪ Product ad skill — keeps the product front and center in every shot: clean hero framing, commercial lighting, a full product description built from the reference image before any shots are generated. ▪ Dialogue skill — this is where most people fall apart. Lip sync, emotional direction, shot structure, and audio cues all have to work together. Test: an interrogation scene with a fourth-wall break — and the moment landed exactly as written, down to the pause and tone. The core idea is simple: instead of writing a prompt from scratch every time and hoping for the best, you build one skill per content type — and Claude asks the right setup questions (genre, tone, shot count, camera energy) before generating a fully structured Seedance 2.0 prompt. One prompt template for everything is exactly why 90% of AI videos look the same. This 13-minute video is free, and it's more useful than a $500 course. YouTube: "Skai Generated" - Thank you for sharing this invaluable material with us.

Zentrix⌚️

45,874 Aufrufe • vor 2 Monaten

Just tried Seedance 2.5 on Pollo AI and pushed it into a 30-second cinematic sequence. 🎬 Loved how smooth the motion and camera work can feel when the scene is properly directed. Seedance 2.5 is currently 50% OFF on Pollo AI for a limited time. Prompt; 30-sec cinematic London grappling sequence. Ultra-photorealistic live-action Hollywood cinematography, realistic physics, natural lighting, detailed London environments, cinematic depth of field, 35mm/50mm look, 4K. A beautiful young adult White American woman, mid-20s, long blonde hair, athletic build, natural face. She is an ordinary woman using experimental wrist-mounted grappling devices, not a superhero. No mask, cape, emblem or superhero costume. She wears the same fitted black athletic crop top with subtle piping, black high-waisted athletic shorts, white sneakers and minimal jewelry throughout. Camera: One continuous third-person tracking shot. Camera always remains outside her, never first-person, handheld or smartphone. Keep her clearly visible and maintain smooth physically motivated movement. No cuts or perspective changes. 0:00–0:05: Golden-hour London apartment overlooking the skyline. She sits safely on the balcony ledge, looks toward camera and says, “Okay… let’s see if this works.” Camera slowly moves toward her. 0:05–0:09: She steps over the railing and descends naturally. Camera follows backward in a wide full-body shot. 0:09–0:13: Her right wrist device activates with a subtle orange light. Cable shoots to a believable rooftop anchor, visibly attaches and becomes taut, converting her fall into a realistic swing. 0:13–0:18: Camera tracks beside her as she swings between buildings. River Thames and London skyline below, with buses, black cabs and traffic. She releases the cable and activates her left wrist. 0:18–0:22: Second cable attaches to a rooftop. She swings again as the camera smoothly arcs around her while keeping her full body visible. 0:22–0:26: She lands naturally on a rooftop, runs three steps, reaches the edge, pauses briefly, then leaps toward the next building. 0:26–0:30: She fires a final cable and makes a huge smooth swing above London. Camera pulls backward and upward, revealing Tower Bridge, London Eye, The Shard, Westminster, Thames and the city at sunset. She releases and briefly glides forward before becoming a small silhouette. Fade to black. Maintain exact character, outfit, devices and environment continuity. Realistic gravity, momentum, cable tension, wind, hair and clothing physics. No teleportation, impossible movement, distorted hands, duplicated limbs, warped buildings, disappearing cables, changing clothes, excessive VFX or background morphing. Keep it subtle.

Jack

18,519 Aufrufe • vor 1 Monat

When every second feels cinematic, the action never stops. Created with the power of Seedance 2.5 on NemoVideo A high-intensity cinematic action sequence featuring realistic movement, dynamic camera work, dramatic destruction, and immersive storytelling. #NemoVideo Prompt: TITLE: THE SURVIVAL RUN Create a single-page, premium Hollywood disaster-action storyboard in 16:9 widescreen format with 12 cinematic panels covering one continuous 30-second survival sequence. REFERENCE IMAGE 1 (Image1): Use as the EXACT main character reference. Maintain the same facial identity, hairstyle, beard, body proportions, black shirt, black pants and overall appearance consistently in every panel. No character, face, hairstyle or clothing changes. Dust and debris may gradually appear as the disaster progresses. REFERENCE IMAGE 2 (Image2): Use as the EXACT storyboard design and layout reference. Match its premium cinematic panel arrangement, numbering, timecodes, black caption strips, typography hierarchy, borders and professional Hollywood storyboard presentation. STYLE: Photorealistic live-action Hollywood disaster film, ARRI Alexa 35, anamorphic cinematic lens, realistic Kuala Lumpur, Malaysia, practical stunt realism, believable destruction physics, handheld tracking, cinematic lighting, motion blur, dust, shattered glass, sparks and realistic debris. CORE RULE: ONE CONTINUOUS SURVIVAL SHOT. Every movement must logically connect. No teleportation or unexplained location changes. The same man constantly runs, stumbles, recovers, jumps, slides and changes direction while the collapsing city becomes the antagonist. STORYBOARD PANELS: 1. 00:00–00:03 — EARTHQUAKE Low-angle behind his feet as he runs through Kuala Lumpur. The ground shakes, buildings tremble, glass explodes and concrete crashes behind him. He looks back and accelerates. 2. 00:03–00:06 — COLLAPSE Front tracking shot. A building façade collapses behind him. He changes direction and jumps over a metal barrier as debris destroys his original path. 3. 00:06–00:09 — CAR IMPACT At an intersection, vehicles slide toward him. He dives at the last second, a car passes overhead, he rolls, recovers and keeps running. 4. 00:09–00:12 — ROAD CRACK A huge fissure tears across the road. He runs onto a damaged car as a springboard and leaps across collapsing pavement. 5. 00:12–00:15 — FALLING GLASS Side tracking shot. High-rise windows explode above him. Glass rains down as he shields his face and ducks beneath a falling sign. 6. 00:15–00:18 — COLLAPSE A building collapses ahead. He spots a narrow gap, drops low and slides beneath falling debris, then emerges dusty and runs. 7. 00:18–00:21 — VEHICLE CHAOS A bus crashes into cars. A spinning vehicle approaches. He jumps onto its hood, springs over the roof and lands on the opposite sidewalk. 8. 00:21–00:24 — ELEVATED ROAD FAILURE An elevated road collapses ahead. He performs a desperate full-body gap jump, lands hard, rolls, recovers and runs. 9. 00:24–00:27 — DEBRIS CHASE Heavy dust reduces visibility. Falling streetlights and concrete force sudden direction changes. He stumbles against a wall and pushes forward. 10. 00:27–00:30 — FINAL COLLAPSE Camera faces him as he runs toward it. Massive buildings collapse behind him. He jumps a concrete barrier as a gigantic slab crashes down. 11. FINAL SHOT — STILL RUNNING He emerges through a huge dust cloud, exhausted and covered in debris but clearly recognizable as Reference Image 1, still running toward camera. 12. CUT TO BLACK Black screen with: “THE SURVIVAL RUN” “SOME DISASTERS YOU CAN’T OUTRUN” CAMERA: Low tracking, front pursuit, side tracking, shoulder-mounted chase, whip-pans and ground-level movement. Camera always follows his momentum. No drones, floating cameras or impossible rotations.

Zar⭕on

15,357 Aufrufe • vor 26 Tagen

⚡This machine wasn't built to race — it was built to hunt." Made with Seedance 2.5 on Supercool.com Prompt: Cinematic photorealistic sci-fi action sequence, moody desaturated color grade, dramatic lighting, hyper-detailed mechanical design, motion blur for speed, 4K film quality. Scene 1: Wide low-angle tracking shot of a futuristic armored rider in black tactical exosuit on a black-gold angular sci-fi motorcycle, speeding on empty highway, overcast sky. Scene 2: Close-up transformation shot — motorcycle's rear panels mechanically unfold like wings while riding at high speed, sparks of light on metal joints. Scene 3: Low-angle hero reveal shot of a sleek black Batmobile-style supercar with scissor/wing doors opening, front LED light strip glowing. Scene 4: Rear-tracking low-angle shot of two motorcycles riding side by side on the highway, wheels blurred with speed. Scene 5: Rear pursuit shot of the black supercar driving with glowing taillights, a motorcycle catching up close behind. Scene 6: Aerial drone top-down shot of a curving highway with the car and motorcycles racing, small flying drone visible above for scale. Scene 7: Close-up action shot of the car's front wheel with sparks flying off the road surface, high-speed drift feel. Scene 8: Interior POV shot from the car's dashboard, glowing speedometer, driving fast through a dark tunnel with lights streaking past. Scene 9: Tunnel chase shot — motorcycle and car entering/exiting a concrete tunnel, wet road reflections, cinematic light contrast. Negative prompt: blurry, low quality, distorted proportions, extra limbs, deformed hands, warped motorcycle frame, flickering lights, inconsistent lighting, cartoonish, low-res textures, watermark, text, logo, oversaturated colors, daytime bright sun (unless overcast), shaky unstable camera, jerky motion, unrealistic physics, plastic look, glitch artifacts. #Ai #AIart️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️️ #VisualStorytelling #CinematicAI #GenerativeAI #AICreator

Sᴀɪʀᴀ

65,759 Aufrufe • vor 7 Tagen