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❤️ Runway Aleph 🔥🔈 Testing combining rapid camera movements with preserving core of base video action. example: 'leaving the first frame unchanged, move the camera extremely rapidly to an aerial view above this explosion while keeping the focus on the explosion, then zoom the camera out to reveal the...

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aroha

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42,298 Aufrufe • vor 1 Jahr •via X (Twitter)

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🚨PromptShare🚨 Multiple camera movements with #Hailuo PROMPT Aerial crane to shoulder mount: Start on a crane boom-down through smoke to a squad breaching; mid-move the camera hot-swaps to shoulder, push-in through doorway as a flash-bang bloom whites out; recover with a dolly zoom out to reveal the entire floor engulfed.
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🚨PromptShare🚨 Multiple camera movements with #Hailuo PROMPT Aerial crane to shoulder mount: Start on a crane boom-down through smoke to a squad breaching; mid-move the camera hot-swaps to shoulder, push-in through doorway as a flash-bang bloom whites out; recover with a dolly zoom out to reveal the entire floor engulfed.

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Here are some really tactical ways to optimize the First and last frame capability: — Make sure your prompt includes precise camera motion descriptions for smooth and creative transitions between the first and last frames. — Or, you can simply include the word “transform” in your prompt for a smooth transition — Starting with a closeup in your first frame and then zooming out to a wide-shot in the final frame is an effective way to create a dramatic reveal.
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Here are some really tactical ways to optimize the First and last frame capability: — Make sure your prompt includes precise camera motion descriptions for smooth and creative transitions between the first and last frames. — Or, you can simply include the word “transform” in your prompt for a smooth transition — Starting with a closeup in your first frame and then zooming out to a wide-shot in the final frame is an effective way to create a dramatic reveal.

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Gen-3 Alpha Image to Video now supports using an image as either the first or last frame of your video generation. This feature can be used on its own or combined with a text prompt for additional guidance. All examples below demonstrate using an image as the last frame. (1/5)
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Gen-3 Alpha Image to Video now supports using an image as either the first or last frame of your video generation. This feature can be used on its own or combined with a text prompt for additional guidance. All examples below demonstrate using an image as the last frame. (1/5)

Runway

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The Stable Video Diffusion model just dropped 🔥 The new model supports: – Text-to-Video – Image-to-Video – 14 or 25 frames at 576 x 1024 – Multi-View Generation – Frame Interpolation – 3D Scene Understanding – Camera Control via LoRA Paper: Code: SVD model: SVD-XT model:
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The Stable Video Diffusion model just dropped 🔥 The new model supports: – Text-to-Video – Image-to-Video – 14 or 25 frames at 576 x 1024 – Multi-View Generation – Frame Interpolation – 3D Scene Understanding – Camera Control via LoRA Paper: Code: SVD model: SVD-XT model:

Dreaming Tulpa 🥓👑

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Quick tip: You probably know that you can extend an AI video by extracting the last frame and using that frame as the initial image for image to video. If you join the videos with Capcut (free video editor) you can use Mix to smooth out the transition which will very quickly improve your result. AI videos here generated with Pika (super impressive text to video) and Minimax (super impressive image to video).
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Quick tip: You probably know that you can extend an AI video by extracting the last frame and using that frame as the initial image for image to video. If you join the videos with Capcut (free video editor) you can use Mix to smooth out the transition which will very quickly improve your result. AI videos here generated with Pika (super impressive text to video) and Minimax (super impressive image to video).

TomLikesRobots🤖

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Alright boys this is how you should be filming your nugs using the iPhone camera (without the macro camera for the mfs who don’t have it this is all on x1 zoom) Left video is how I see 99% of yall film the right is how you should. Never zoom in on the nug just bring the nug as close to your camera as possible and watch the magic happen.
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Alright boys this is how you should be filming your nugs using the iPhone camera (without the macro camera for the mfs who don’t have it this is all on x1 zoom) Left video is how I see 99% of yall film the right is how you should. Never zoom in on the nug just bring the nug as close to your camera as possible and watch the magic happen.

parlay

52,037 Aufrufe • vor 1 Jahr

GPT Image 2 + Seedance 2.0 - Prompt Share Created on @MartiniArt_ Created the character in Midjourney, then built the storyboard around that character. This time I used a more detailed video prompt, but I wasn't describing the sequence shot-by-shot. The storyboard acted more as a visual guide for the action flow, camera language and overall narrative than as a strict frame-by-frame blueprint. Looking at the result, the model seems to preserve the key beats, escalation and composition of the storyboard while freely interpreting the transitions between them.
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GPT Image 2 + Seedance 2.0 - Prompt Share Created on @MartiniArt_ Created the character in Midjourney, then built the storyboard around that character. This time I used a more detailed video prompt, but I wasn't describing the sequence shot-by-shot. The storyboard acted more as a visual guide for the action flow, camera language and overall narrative than as a strict frame-by-frame blueprint. Looking at the result, the model seems to preserve the key beats, escalation and composition of the storyboard while freely interpreting the transitions between them.

Kōda

41,565 Aufrufe • vor 2 Monaten

MiniMax H3 Instead of sharing the prompts for each of these videos, I thought it would be more useful to share how I created that prompts. All of the videos were generated with text-to-video. First, find an image with the kind of scene, composition and mood you want to recreate. I used a few YouTube playlist thumbnails as references but Pinterest is also a great place to find inspiration. You can even use your own old or nostalgic photographs. Then upload the image to ChatGPT and ask it to describe the scene. The description it gives you can essentially become your text-to-video prompt. From there, you can generate completely new scenes with a similar composition, atmosphere and cinematic language. You can of course use the reference image directly with image-to-video or as a first frame. But if the original image isn't yours, I prefer using it only as visual inspiration and recreating the scene through text-to-video. This is the prompt I use with ChatGPT: "Describe the scene in this image in English, focusing primarily on what is happening, the characters, their actions and body language, the setting and the overall atmosphere. Also briefly describe the composition, framing, camera angle, approximate lens choice, lighting, color palette and cinematic aesthetic. Keep it concise and scene-focused rather than overly technical."
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MiniMax H3 Instead of sharing the prompts for each of these videos, I thought it would be more useful to share how I created that prompts. All of the videos were generated with text-to-video. First, find an image with the kind of scene, composition and mood you want to recreate. I used a few YouTube playlist thumbnails as references but Pinterest is also a great place to find inspiration. You can even use your own old or nostalgic photographs. Then upload the image to ChatGPT and ask it to describe the scene. The description it gives you can essentially become your text-to-video prompt. From there, you can generate completely new scenes with a similar composition, atmosphere and cinematic language. You can of course use the reference image directly with image-to-video or as a first frame. But if the original image isn't yours, I prefer using it only as visual inspiration and recreating the scene through text-to-video. This is the prompt I use with ChatGPT: "Describe the scene in this image in English, focusing primarily on what is happening, the characters, their actions and body language, the setting and the overall atmosphere. Also briefly describe the composition, framing, camera angle, approximate lens choice, lighting, color palette and cinematic aesthetic. Keep it concise and scene-focused rather than overly technical."

Kōda

49,606 Aufrufe • vor 9 Tagen

The video smooth zoom on the Samsung Galaxy S26 Ultra is still the closest thing to a professional camcorder experience in the smartphone industry today. In fact, it’s even easier to control than the iPhone. On many other phones, video zooming requires constant finger movement and very precise control. The zoom speed can easily become inconsistent, suddenly speeding up or slowing down. Samsung works differently. You simply hold your finger at a certain position, and the phone continues zooming at a constant speed. The entire process feels extremely stable and linear. It genuinely resembles the powered zoom control of a professional video camera. This logic is fundamentally related to Samsung’s AI slow motion technology. They share the same core foundation: real time control over motion trajectories, speed transitions, and frame interpolation. What you’re seeing here was shot in very windy conditions using Samsung’s Pro Video mode, continuously zooming from 5x to 25x. Aside from some slight stutter during optical lens switching points, the continuous zoom transition within digital zoom ranges is arguably the closest thing to a professional camera currently available on a smartphone. So if the future Samsung Galaxy S27 Ultra really removes the 3x telephoto camera, it could actually improve the video zoom experience further. Fewer optical switching points would theoretically reduce transition jumps and stutters, making the entire zoom range feel even more natural and continuous.
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The video smooth zoom on the Samsung Galaxy S26 Ultra is still the closest thing to a professional camcorder experience in the smartphone industry today. In fact, it’s even easier to control than the iPhone. On many other phones, video zooming requires constant finger movement and very precise control. The zoom speed can easily become inconsistent, suddenly speeding up or slowing down. Samsung works differently. You simply hold your finger at a certain position, and the phone continues zooming at a constant speed. The entire process feels extremely stable and linear. It genuinely resembles the powered zoom control of a professional video camera. This logic is fundamentally related to Samsung’s AI slow motion technology. They share the same core foundation: real time control over motion trajectories, speed transitions, and frame interpolation. What you’re seeing here was shot in very windy conditions using Samsung’s Pro Video mode, continuously zooming from 5x to 25x. Aside from some slight stutter during optical lens switching points, the continuous zoom transition within digital zoom ranges is arguably the closest thing to a professional camera currently available on a smartphone. So if the future Samsung Galaxy S27 Ultra really removes the 3x telephoto camera, it could actually improve the video zoom experience further. Fewer optical switching points would theoretically reduce transition jumps and stutters, making the entire zoom range feel even more natural and continuous.

Ice Universe

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Magnific 'Structure Reference' + RunwayML "Restyle video" to colorize old movies ... I think one might run this in a way you use this to help to determine the color layer and then apply the colors on top of the original black and white image... ... would work best if you would do a separate init frame for each cut...
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Magnific 'Structure Reference' + RunwayML "Restyle video" to colorize old movies ... I think one might run this in a way you use this to help to determine the color layer and then apply the colors on top of the original black and white image... ... would work best if you would do a separate init frame for each cut...

Roope Rainisto

55,725 Aufrufe • vor 1 Jahr

Turn Tom and Jerry in 4K reality using Seedance 2.0 on Pollo AI Prompt: Use the uploaded reference video as the master reference. Recreate the entire scene in ultra-photorealistic live action while preserving the original video frame-by-frame. Maintain the EXACT camera movement, lens, framing, composition, timing, pacing, shot transitions, lighting direction, environment, props, object placement, character blocking, and every action from the reference video. ONLY replace the cartoon characters with realistic live-action animals while keeping everything else unchanged. ======================== CHARACTER CONSISTENCY ======================== Tom is a realistic British Shorthair cat with: • blue-gray plush fur • white chest, muzzle and paws • large amber eyes • pink nose • rounded face • thick tail • expressive eyebrows • identical appearance in every frame • identical fur pattern, facial proportions, eye color and body size throughout the video Jerry is a realistic golden Syrian hamster with: • soft golden-brown fur • cream belly • large rounded ears • black shiny eyes • tiny pink paws • small pink nose • realistic whiskers • consistent body proportions in every frame • identical appearance throughout the entire video If other Tom & Jerry characters appear, replace them with realistic animals that preserve their personality, colors, proportions and expressions while remaining identical throughout the clip. ======================== MOTION ======================== Preserve every movement exactly. The realistic animals must perform the exact same actions, walking cycle, head movement, eye movement, paw placement, facial expressions, timing and interactions as in the reference animation. No new actions. No altered timing. No changed poses. ======================== ENVIRONMENT ======================== Keep the original environment exactly the same. Do not modify: • furniture • decorations • room layout • colors • props • shadows • reflections • camera angle • camera path Everything except the characters must remain unchanged. ======================== QUALITY ======================== Hollywood-quality CGI. Photorealistic animals. Natural muscle movement. Physically accurate fur simulation. Realistic whiskers. Subsurface scattering. Realistic eye reflections. Natural breathing. Micro facial expressions. Ultra detailed textures. Soft cinematic lighting. Shallow depth of field. Global illumination. Ray-traced reflections. Macro photography realism. 4K HDR. Disney-level VFX quality. Live-action realism. Extremely stable temporal consistency. Perfect character identity consistency across all frames. Do not redesign the characters. Do not change the environment. Do not change the camera. Do not change the timing. Do not add new objects. Do not crop or zoom differently. No flickering. No morphing. No identity drift. No fur color changes. No eye color changes. No size changes. No anatomy deformation. No extra limbs. No duplicate animals. No cartoon textures. No low-quality CGI. No inconsistent lighting. No frame-to-frame variation. Maintain perfect temporal consistency and character consistency throughout the entire video.
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Turn Tom and Jerry in 4K reality using Seedance 2.0 on Pollo AI Prompt: Use the uploaded reference video as the master reference. Recreate the entire scene in ultra-photorealistic live action while preserving the original video frame-by-frame. Maintain the EXACT camera movement, lens, framing, composition, timing, pacing, shot transitions, lighting direction, environment, props, object placement, character blocking, and every action from the reference video. ONLY replace the cartoon characters with realistic live-action animals while keeping everything else unchanged. ======================== CHARACTER CONSISTENCY ======================== Tom is a realistic British Shorthair cat with: • blue-gray plush fur • white chest, muzzle and paws • large amber eyes • pink nose • rounded face • thick tail • expressive eyebrows • identical appearance in every frame • identical fur pattern, facial proportions, eye color and body size throughout the video Jerry is a realistic golden Syrian hamster with: • soft golden-brown fur • cream belly • large rounded ears • black shiny eyes • tiny pink paws • small pink nose • realistic whiskers • consistent body proportions in every frame • identical appearance throughout the entire video If other Tom & Jerry characters appear, replace them with realistic animals that preserve their personality, colors, proportions and expressions while remaining identical throughout the clip. ======================== MOTION ======================== Preserve every movement exactly. The realistic animals must perform the exact same actions, walking cycle, head movement, eye movement, paw placement, facial expressions, timing and interactions as in the reference animation. No new actions. No altered timing. No changed poses. ======================== ENVIRONMENT ======================== Keep the original environment exactly the same. Do not modify: • furniture • decorations • room layout • colors • props • shadows • reflections • camera angle • camera path Everything except the characters must remain unchanged. ======================== QUALITY ======================== Hollywood-quality CGI. Photorealistic animals. Natural muscle movement. Physically accurate fur simulation. Realistic whiskers. Subsurface scattering. Realistic eye reflections. Natural breathing. Micro facial expressions. Ultra detailed textures. Soft cinematic lighting. Shallow depth of field. Global illumination. Ray-traced reflections. Macro photography realism. 4K HDR. Disney-level VFX quality. Live-action realism. Extremely stable temporal consistency. Perfect character identity consistency across all frames. Do not redesign the characters. Do not change the environment. Do not change the camera. Do not change the timing. Do not add new objects. Do not crop or zoom differently. No flickering. No morphing. No identity drift. No fur color changes. No eye color changes. No size changes. No anatomy deformation. No extra limbs. No duplicate animals. No cartoon textures. No low-quality CGI. No inconsistent lighting. No frame-to-frame variation. Maintain perfect temporal consistency and character consistency throughout the entire video.

Oogie

60,759 Aufrufe • vor 1 Monat

This was nearly over before I pressed the button. Adult Kingfisher is feeding a wee fish to newly-fledged junior 1 (with back to camera), then junior 2 arrives, and then all three exit to left of frame. On the River Kelvin in Glasgow this afternoon.
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This was nearly over before I pressed the button. Adult Kingfisher is feeding a wee fish to newly-fledged junior 1 (with back to camera), then junior 2 arrives, and then all three exit to left of frame. On the River Kelvin in Glasgow this afternoon.

Brian Gallagher

54,019 Aufrufe • vor 2 Monaten

Do you guys remember this guy from last year who stole the.girllens.’s borrowed camera? He was ordered on the InDrive app to deliver a camera to someone, but he ran away with it instead. After seeing posts online of people searching for him, he kept moving from place to place to avoid being caught. He was eventually caught on February 12 this year, but by then he had already sold everything in the bag for 200k and couldn’t trace the buyers, claiming they were Ikeja boys by the roadside. The bag contained a camera and lens worth over 2m, which he sold for just 200k. The case went to court, and he was found guilty, with sentencing fixed for April 9th. However, Seun(the owner of the stolen camera) later asked her to let him go, and despite her pain, she agreed since he was the owner of the camera stollen. Why are you releasing a thief because of pity?? First frame was when he was caught. Second frame was when he sold the camera
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Do you guys remember this guy from last year who stole the.girllens.’s borrowed camera? He was ordered on the InDrive app to deliver a camera to someone, but he ran away with it instead. After seeing posts online of people searching for him, he kept moving from place to place to avoid being caught. He was eventually caught on February 12 this year, but by then he had already sold everything in the bag for 200k and couldn’t trace the buyers, claiming they were Ikeja boys by the roadside. The bag contained a camera and lens worth over 2m, which he sold for just 200k. The case went to court, and he was found guilty, with sentencing fixed for April 9th. However, Seun(the owner of the stolen camera) later asked her to let him go, and despite her pain, she agreed since he was the owner of the camera stollen. Why are you releasing a thief because of pity?? First frame was when he was caught. Second frame was when he sold the camera

Idanssssssss😝😝

23,952 Aufrufe • vor 4 Monaten

📖THE STEP MOST CREATORS SKIP IS WHY THEIR AI ANIMATION LOOKS INCONSISTENT Consistency across clips doesn't come from prompting — it comes from the reference image. The pipeline, step by step: ▪ Start with ChatGPT Image 2 — generate a full character design sheet first, not just a single frame. Multiple angles, expressions, and outfit variations in one image keeps the character consistent across every scene ▪ Build a storyboard inside ChatGPT Image 2 as well — define each shot, camera angle, action, and mood before touching Seedance at all. This is the step most people skip and it's the reason clips look disconnected ▪ Define a color palette and lighting mood early — golden afternoon light, soft warm tones, dramatic shadows. Lock those values and repeat them across every prompt ▪ Take each storyboard frame into Seedance 2.0 as the reference image — one frame becomes one clip ▪ Write the Seedance prompt around the character action, not the scene description. The scene is already in the image. The prompt handles motion, camera behavior, and timing ▪ Keep clip duration between 4-6 seconds per shot — shorter clips give more control over pacing and reduce motion drift on character faces ▪ Match camera movement type across consecutive clips — if one shot dollies in, the next should hold or pull back, not dolly again The consistency across these frames comes from the character design sheet, not from luck. Seedance reads the reference image and the prompt together — if the reference is detailed enough, the output stays on-model. This video was created by ALOKXMEHTA 📥 tomorrow: the exact ChatGPT Image 2 prompt structure used to generate a multi-angle character design sheet like this one 🔖One article covers the entire workflow — it is pinned below, do not scroll past it.
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📖THE STEP MOST CREATORS SKIP IS WHY THEIR AI ANIMATION LOOKS INCONSISTENT Consistency across clips doesn't come from prompting — it comes from the reference image. The pipeline, step by step: ▪ Start with ChatGPT Image 2 — generate a full character design sheet first, not just a single frame. Multiple angles, expressions, and outfit variations in one image keeps the character consistent across every scene ▪ Build a storyboard inside ChatGPT Image 2 as well — define each shot, camera angle, action, and mood before touching Seedance at all. This is the step most people skip and it's the reason clips look disconnected ▪ Define a color palette and lighting mood early — golden afternoon light, soft warm tones, dramatic shadows. Lock those values and repeat them across every prompt ▪ Take each storyboard frame into Seedance 2.0 as the reference image — one frame becomes one clip ▪ Write the Seedance prompt around the character action, not the scene description. The scene is already in the image. The prompt handles motion, camera behavior, and timing ▪ Keep clip duration between 4-6 seconds per shot — shorter clips give more control over pacing and reduce motion drift on character faces ▪ Match camera movement type across consecutive clips — if one shot dollies in, the next should hold or pull back, not dolly again The consistency across these frames comes from the character design sheet, not from luck. Seedance reads the reference image and the prompt together — if the reference is detailed enough, the output stays on-model. This video was created by ALOKXMEHTA 📥 tomorrow: the exact ChatGPT Image 2 prompt structure used to generate a multi-angle character design sheet like this one 🔖One article covers the entire workflow — it is pinned below, do not scroll past it.

Zentrix⌚️

14,015 Aufrufe • vor 1 Monat

Only one Adobe Firefly video prompt from our research hit production-ready on the first generation. Prompt in comments 👀 It looks you have to direct the camera as much as the model to get the most out of Firefly. Every other video session in our research needed a revision. Revising the first frame is where Firefly broke: >motion failures (temporal flicker, motion continuity, physics in motion) carried 60% of video's issue mix once designers re-prompted. TLDR: in Adobe Firefly, the camera does a lot of the work. Bake it into the first prompt and the video lands. Its by far the best time to be a creative.
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Only one Adobe Firefly video prompt from our research hit production-ready on the first generation. Prompt in comments 👀 It looks you have to direct the camera as much as the model to get the most out of Firefly. Every other video session in our research needed a revision. Revising the first frame is where Firefly broke: >motion failures (temporal flicker, motion continuity, physics in motion) carried 60% of video's issue mix once designers re-prompted. TLDR: in Adobe Firefly, the camera does a lot of the work. Bake it into the first prompt and the video lands. Its by far the best time to be a creative.

ben @ CVPR

12,847 Aufrufe • vor 3 Monaten

I got this video of an attack on the Haifa port. I post it as unconfirmed fact. If it is correct, then Iran got lucky with a secondary explosion.
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I got this video of an attack on the Haifa port. I post it as unconfirmed fact. If it is correct, then Iran got lucky with a secondary explosion.

Alternative News

35,399 Aufrufe • vor 5 Monaten

Do you use Runway Gen-2 to make AI videos? This is for you! I built a simple tool to help "extend" Runway videos beyond the 4 second clip limit. Just choose a video, and the tool will give you the final frame -- so that you can drop this back into Runway, and generate another AI video based on it. Let me know if this is useful to you! Link is at bottom of the video and it's live to try right now.
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Do you use Runway Gen-2 to make AI videos? This is for you! I built a simple tool to help "extend" Runway videos beyond the 4 second clip limit. Just choose a video, and the tool will give you the final frame -- so that you can drop this back into Runway, and generate another AI video based on it. Let me know if this is useful to you! Link is at bottom of the video and it's live to try right now.

Benjamin De Kraker

68,384 Aufrufe • vor 3 Jahren

Testing Seedance vs Google Omni for VFX style stuff Seedance is vastly superior in every test I have done. Prompt: "Replace the background with an enormous sea creature pursuing the boat. Have it end with the creature catching up and just about to swallow the boat. Match the exact verbatim camera angle and position of the boat from the reference video."
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Testing Seedance vs Google Omni for VFX style stuff Seedance is vastly superior in every test I have done. Prompt: "Replace the background with an enormous sea creature pursuing the boat. Have it end with the creature catching up and just about to swallow the boat. Match the exact verbatim camera angle and position of the boat from the reference video."

A.I.Warper

18,185 Aufrufe • vor 1 Monat

THIS ENTIRE CINEMATIC ACTION SHOT WAS GENERATED WITH AI. AND YOU CAN SEE EXACTLY HOW IT WAS MADE. Higgsfield has just open-sourced its Originals, giving creators full access to the workflow behind some of its best productions. For every project you can inspect: → the complete prompt → every image and audio reference → the exact generation settings, including model, quality and resolution This scene combines a continuous one-take camera move, large-scale naval combat, realistic explosions, character consistency and cinematic pacing, all driven by a single prompt. Nothing is hidden. You can study it, copy it, recreate it or use it as the starting point for your own projects. Full prompt: "SCENE CONTEXT One continuous shot. The camera faces down the wrecked, burning deck toward the BOW of the ship — and Eduardo, blown off the raised STERN DECK behind the camera by a blast, comes FLYING IN from ABOVE AND BEHIND — leaping off the second level, sailing in over the lens on a forward arc, through raining seawater — slams onto the MAIN deck one level below, AHEAD of the camera, and rolls through a tumbling somersault, momentum carrying him toward the bow. Two crewmen flee past him — one leaps overboard. Eduardo fights his way toward the bow under incoming fire: an explosion bursts on his LEFT — he dodges away and is knocked down; he struggles back to his feet — a second explosion on his RIGHT — he ducks and shields behind debris; then he breaks into a sprint for the bow — the camera sweeps around ahead of him and settles OFF THE BOW, FRONTAL: he leaps over the bow rail TOWARD the camera, the ship filling the background behind him — and THE INSTANT he clears the rail, a COLOSSAL explosion consumes the ship behind him: the blast wall catches him MID-AIR and he VANISHES inside it — he never escapes. The cloud overtakes the camera; the frame floods to 100% smoke and dust. The shot ENDS inside the dust: no transition, no reveal — it holds to the end. 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; the man fighting down the deck toward the bow. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle. 100% matches the reference; controls the ship's exterior — sails, masts, rigging and hull; already battle-damaged in this shot — burst bulwark, smoldering rigging, debris on the deck. >> — the deck of the same galleon seen FROM THE RAISED STERN DECK LOOKING FORWARD TOWARD THE BOW: the great wheel and brass compass binnacle in the near foreground, an ornate lantern post, a carved balustrade, a staircase descending to the long MAIN deck — weathered planking, small cannons along both rails, black gratings, coiled ropes, the mainmast amidships, the forecastle and bow in the far depth, open sea on both sides. 100% matches the reference; controls the full on-deck geography, set dressing AND the shot's base viewing direction — from the stern toward the bow. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — weathered pirate crewmen (bandanas, rough shirts, vests). 100% match the reference; TWO of them appear early in the shot, fleeing — one leaps overboard. LOCATION MAP The deck of >> aboard >> on >> — the raised stern deck (wheel, binnacle, balustrade) at the BACK, the staircase down, the long main deck with cannons, gratings and the mainmast running FORWARD to the distant BOW, exactly as on the reference — the main deck now a wrecked corridor of splintered planks, fallen spars, torn rigging and small fires. The camera sits at the forward edge of the raised stern deck, just past the wheel, LOOKING FORWARD along the whole deck toward the bow — the reference's own vantage; the wheel and binnacle may edge the near foreground. The bow rail and bowsprit are the destination, background-center, open sea beyond them. Sea and smoke beyond the broken side rails; seawater from near-miss columns rains down over the deck in the opening. FIRST FRAME / BLOCKING First frame: deck level, MS, camera facing down the wrecked deck toward the BOW in the background-center — the view of >>: from the stern-deck edge the long main deck runs away to the bow and bowsprit against open sea and sky, cannons along both rails, the mainmast mid-depth, smoke streaming across the frame, small fires burning left and right, seawater spray falling across the deck like rain, the deck listing, loose gear sliding; the wheel and binnacle just behind/beside the camera, edging the near foreground. Eduardo is NOT in the first frame; within the first half second he comes off that second level behind the camera — his body sweeping in OVER the lens from above and behind, boots crossing the top of the frame, flying FORWARD and DOWN one deck-height into the depth of the shot toward the bow. FORMAT MODE One continuous shot — the camera does not cut on its own. The shot ENDS inside the dust whiteout; there is NO location change and NO reveal after it. PHASE 1 — the landing and the gauntlet: >> comes FLYING IN from ABOVE AND BEHIND the camera — blown off the stern deck by a blast, his body sweeping in over the lens and arcing DOWN-AND-FORWARD one full deck-height onto the main deck below, arms out in front of him, back to camera — falling THROUGH a curtain of seawater raining down from a collapsed near-miss column; he SLAMS onto the wet MAIN-deck planks in the depth of the frame and rolls through a hard tumbling somersault AWAY from the lens, toward the bow, water bursting off him and the boards, scattering debris, coming up to a crouch facing the bow, soaked and shaken. TWO crewmen of >> bolt past him in panic — one sprints aft past the camera, the other vaults the side rail and LEAPS OVERBOARD, legs kicking. Eduardo starts working down the deck toward the bow, camera following behind. An incoming round EXPLODES on his LEFT — a burst of flame, planks and spray — he flinches away to the right and is knocked off his feet onto the deck. He struggles up, heavy and unsteady, one hand pushing off a fallen spar — and a second round EXPLODES on his RIGHT — he ducks hard, shielding his head behind a broken mast stump, debris raining over him. PHASE 2 — the sprint, the frontal jump, the blast, the dust: he shoves off and breaks into a desperate sprint at 12 km/h for the bow — and as he runs, the camera SWEEPS AROUND him in one continuous arc, ending positioned OFF THE BOW, out over the open water, FACING BACK at the ship: now Eduardo sprints STRAIGHT AT THE CAMERA, the burning ship towering behind him. He plants one boot on the bow rail and LEAPS OVERBOARD TOWARD THE CAMERA — body launching up and out over the water, frontal, face and reaching arms filling the frame — and THE INSTANT he clears the rail, mid-air, the ENTIRE SHIP EXPLODES behind him in full view: a colossal white flash silhouetting his flying body for two frames, the whole vessel going up in one blast — and the expanding wall of flame-lit smoke and debris CATCHES HIM IN THE AIR from behind, swallowing his silhouette whole before he can fall clear — he VANISHES inside the explosion, never escaping it — and the cloud overtakes the lens, the dust filling 100% of the frame. The dust churns, a deep orange glow pulsing inside it and fading. HOLD inside the full dust to the last frame — the generation ENDS here, inside the dust. He never reaches the water; the blast takes him mid-air. OPTICS 47° neutral through the landing, the gauntlet and the jump. No drift. Focus rides Eduardo throughout; in the final dust the frame is pure particulate with no fixed plane. CAMERA Handheld chase behind him for the entire shot, deck level, always looking TOWARD THE BOW — footstep energy visible, jolted by each explosion; in phase 2 it accelerates after his sprint, then arcs around him in one unbroken move and settles off the bow over the water, FRONTAL to Eduardo — he runs and leaps straight into the lens with the ship in the background of his jump. The final blast is the WHOLE SHIP exploding behind his airborne body — a colossal flash, then the wall of smoke bursting forward, swallowing him mid-air and then the lens — the camera stays buried, holding inside the churning dust until the end. ACTION Strict order of events: flying entry from above through falling seawater → hard landing roll (somersault over one shoulder, forward momentum carrying the roll toward the bow, ending in a crouch) → two crewmen flee past, one over the side → left explosion → dodge right → knocked down → a hard, clumsy struggle back to his feet → right explosion → duck and shield behind the mast stump → shove off → full sprint to the bow, camera arcing around to meet him head-on → one boot on the rail → LEAP overboard straight toward the camera → THE INSTANT he clears the rail, the ENTIRE SHIP EXPLODES behind him → the blast wall catches him MID-AIR and swallows him whole → the cloud overtakes the camera → dust to 100% → hold in the dust → END. He never escapes and never reaches the water. Each explosion visibly moves his body: the first throws him down, the second folds him behind cover. PERFORMANCE During the gauntlet: jaw clenched, eyes fixed forward, water streaming off his face after the landing. The fleeing crewmen are pure panic — arms pumping, one glance back, the vault over the rail desperate. In the final sprint: full commitment, arms reaching for the rail, eyes wide — in the jump: full commitment, arms reaching at the lens, eyes wide — and mid-air the world behind him turns white: his flying silhouette swallowed by the blast, reaching hands the last thing visible. PHYSICS The flying entry has true ballistic momentum: he arrives on an arc from above, and the landing roll absorbs it — impact compresses the body, the somersault carries the leftover energy, no weightless float. Falling seawater has real weight — it rains in heavy drops and sheets, splashing off planks, soaking cloth so it clings and darkens. The listing deck tilts his movement; debris has weight and stops his foot when hit. The two deck explosions throw real shockwaves — planks lift, flame flashes then roll into smoke, and Eduardo's falls carry true body weight, hard contact with the deck, no bounce. The overboard crewman drops with real gravity. The final whole-ship explosion obeys mass: the shockwave arrives first — cloth and hair snap flat, the deck bucks under his planted boot — then the fireball's light, then the wall of smoke and debris, heavy pieces falling short, fine dust travelling farthest and swallowing the frame. Dust churns with internal motion, dense, filling every corner of the frame. LIGHTING High sea daylight 5600K, hardened by fire-glow accents from the deck fires and smoke shadow sweeping the deck; falling water catches the sun as bright streaks; each of the two explosions throws a brief warm flash from its side of the frame. The final whole-ship blast: two frames of white-hot overexposure flooding from behind, then deep fire-orange glow inside the rolling dust, fading toward neutral grey-brown as the frame holds and ends. AUDIO Phase 1: a whistling whoosh as he drops in, heavy water raining on planks, a THUD and clatter of the landing roll, grunt, ragged breath; panicked boots of the fleeing crewmen, a yell and a distant splash as one goes over the side; then BOOM left, ringing ears, his grunt as he hits the deck; scrabbling boots; BOOM right, debris pattering down over him. Phase 2: sprinting boots hammering the deck, the wooden knock of his boot on the bow rail, half a beat of pure wind as he hangs in the air — then ONE colossal BOOM as the whole ship goes up behind him, the deepest sound of the film, cracking timber and folding masts inside the roar, everything collapsing into a muffled ring, sound buried with the picture — the ring and the churn of dust holding to the last frame. No music. STYLE Photoreal live-action, fine film grain, real pyrotechnic and particulate language, one unbroken take, 8K master. POSITIVE LOCKS One continuous shot; the camera stays at deck level, behind Eduardo, always looking TOWARD THE BOW. The shot OPENS with Eduardo NOT in frame; he flies in from ABOVE AND BEHIND the camera, over the lens, on a forward arc toward the bow, through falling seawater, and lands in a tumbling roll ahead of the camera — he does not walk into frame and never appears standing before the landing. Exactly TWO fleeing crewmen: one runs aft, one leaps overboard — they appear only in the opening beat. The deck explosions land in strict order after his landing: first LEFT of him (he dodges and falls), then RIGHT of him (he ducks behind cover), then the final blast — the ENTIRE SHIP exploding the INSTANT he clears the bow rail — three explosions total, no more. The jump is FRONTAL: the camera faces Eduardo from off the bow, he leaps toward the lens with the exploding ship behind him in frame. HE NEVER ESCAPES: the blast wall catches him MID-AIR and he vanishes inside the explosion before he can fall clear — no water contact, no landing, no survival beat; the dust swallows him and then the lens. The deck matches >> throughout the run — the shot holds the reference's vantage: from the stern deck forward to the bow, wheel and binnacle at the near edge of frame, never ahead of him; sails, masts and hull match >>. The dust reaches 100% frame coverage and the shot ENDS inside the dust: the frame stays fully dust-filled to the last frame, no clearing, no new location, no reveal. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose." Made with Seedance 2.0 on Higgsfield AI. Full open-sourced prompts & assets below 👇
0:15

THIS ENTIRE CINEMATIC ACTION SHOT WAS GENERATED WITH AI. AND YOU CAN SEE EXACTLY HOW IT WAS MADE. Higgsfield has just open-sourced its Originals, giving creators full access to the workflow behind some of its best productions. For every project you can inspect: → the complete prompt → every image and audio reference → the exact generation settings, including model, quality and resolution This scene combines a continuous one-take camera move, large-scale naval combat, realistic explosions, character consistency and cinematic pacing, all driven by a single prompt. Nothing is hidden. You can study it, copy it, recreate it or use it as the starting point for your own projects. Full prompt: "SCENE CONTEXT One continuous shot. The camera faces down the wrecked, burning deck toward the BOW of the ship — and Eduardo, blown off the raised STERN DECK behind the camera by a blast, comes FLYING IN from ABOVE AND BEHIND — leaping off the second level, sailing in over the lens on a forward arc, through raining seawater — slams onto the MAIN deck one level below, AHEAD of the camera, and rolls through a tumbling somersault, momentum carrying him toward the bow. Two crewmen flee past him — one leaps overboard. Eduardo fights his way toward the bow under incoming fire: an explosion bursts on his LEFT — he dodges away and is knocked down; he struggles back to his feet — a second explosion on his RIGHT — he ducks and shields behind debris; then he breaks into a sprint for the bow — the camera sweeps around ahead of him and settles OFF THE BOW, FRONTAL: he leaps over the bow rail TOWARD the camera, the ship filling the background behind him — and THE INSTANT he clears the rail, a COLOSSAL explosion consumes the ship behind him: the blast wall catches him MID-AIR and he VANISHES inside it — he never escapes. The cloud overtakes the camera; the frame floods to 100% smoke and dust. The shot ENDS inside the dust: no transition, no reveal — it holds to the end. 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; the man fighting down the deck toward the bow. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle. 100% matches the reference; controls the ship's exterior — sails, masts, rigging and hull; already battle-damaged in this shot — burst bulwark, smoldering rigging, debris on the deck. >> — the deck of the same galleon seen FROM THE RAISED STERN DECK LOOKING FORWARD TOWARD THE BOW: the great wheel and brass compass binnacle in the near foreground, an ornate lantern post, a carved balustrade, a staircase descending to the long MAIN deck — weathered planking, small cannons along both rails, black gratings, coiled ropes, the mainmast amidships, the forecastle and bow in the far depth, open sea on both sides. 100% matches the reference; controls the full on-deck geography, set dressing AND the shot's base viewing direction — from the stern toward the bow. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — weathered pirate crewmen (bandanas, rough shirts, vests). 100% match the reference; TWO of them appear early in the shot, fleeing — one leaps overboard. LOCATION MAP The deck of >> aboard >> on >> — the raised stern deck (wheel, binnacle, balustrade) at the BACK, the staircase down, the long main deck with cannons, gratings and the mainmast running FORWARD to the distant BOW, exactly as on the reference — the main deck now a wrecked corridor of splintered planks, fallen spars, torn rigging and small fires. The camera sits at the forward edge of the raised stern deck, just past the wheel, LOOKING FORWARD along the whole deck toward the bow — the reference's own vantage; the wheel and binnacle may edge the near foreground. The bow rail and bowsprit are the destination, background-center, open sea beyond them. Sea and smoke beyond the broken side rails; seawater from near-miss columns rains down over the deck in the opening. FIRST FRAME / BLOCKING First frame: deck level, MS, camera facing down the wrecked deck toward the BOW in the background-center — the view of >>: from the stern-deck edge the long main deck runs away to the bow and bowsprit against open sea and sky, cannons along both rails, the mainmast mid-depth, smoke streaming across the frame, small fires burning left and right, seawater spray falling across the deck like rain, the deck listing, loose gear sliding; the wheel and binnacle just behind/beside the camera, edging the near foreground. Eduardo is NOT in the first frame; within the first half second he comes off that second level behind the camera — his body sweeping in OVER the lens from above and behind, boots crossing the top of the frame, flying FORWARD and DOWN one deck-height into the depth of the shot toward the bow. FORMAT MODE One continuous shot — the camera does not cut on its own. The shot ENDS inside the dust whiteout; there is NO location change and NO reveal after it. PHASE 1 — the landing and the gauntlet: >> comes FLYING IN from ABOVE AND BEHIND the camera — blown off the stern deck by a blast, his body sweeping in over the lens and arcing DOWN-AND-FORWARD one full deck-height onto the main deck below, arms out in front of him, back to camera — falling THROUGH a curtain of seawater raining down from a collapsed near-miss column; he SLAMS onto the wet MAIN-deck planks in the depth of the frame and rolls through a hard tumbling somersault AWAY from the lens, toward the bow, water bursting off him and the boards, scattering debris, coming up to a crouch facing the bow, soaked and shaken. TWO crewmen of >> bolt past him in panic — one sprints aft past the camera, the other vaults the side rail and LEAPS OVERBOARD, legs kicking. Eduardo starts working down the deck toward the bow, camera following behind. An incoming round EXPLODES on his LEFT — a burst of flame, planks and spray — he flinches away to the right and is knocked off his feet onto the deck. He struggles up, heavy and unsteady, one hand pushing off a fallen spar — and a second round EXPLODES on his RIGHT — he ducks hard, shielding his head behind a broken mast stump, debris raining over him. PHASE 2 — the sprint, the frontal jump, the blast, the dust: he shoves off and breaks into a desperate sprint at 12 km/h for the bow — and as he runs, the camera SWEEPS AROUND him in one continuous arc, ending positioned OFF THE BOW, out over the open water, FACING BACK at the ship: now Eduardo sprints STRAIGHT AT THE CAMERA, the burning ship towering behind him. He plants one boot on the bow rail and LEAPS OVERBOARD TOWARD THE CAMERA — body launching up and out over the water, frontal, face and reaching arms filling the frame — and THE INSTANT he clears the rail, mid-air, the ENTIRE SHIP EXPLODES behind him in full view: a colossal white flash silhouetting his flying body for two frames, the whole vessel going up in one blast — and the expanding wall of flame-lit smoke and debris CATCHES HIM IN THE AIR from behind, swallowing his silhouette whole before he can fall clear — he VANISHES inside the explosion, never escaping it — and the cloud overtakes the lens, the dust filling 100% of the frame. The dust churns, a deep orange glow pulsing inside it and fading. HOLD inside the full dust to the last frame — the generation ENDS here, inside the dust. He never reaches the water; the blast takes him mid-air. OPTICS 47° neutral through the landing, the gauntlet and the jump. No drift. Focus rides Eduardo throughout; in the final dust the frame is pure particulate with no fixed plane. CAMERA Handheld chase behind him for the entire shot, deck level, always looking TOWARD THE BOW — footstep energy visible, jolted by each explosion; in phase 2 it accelerates after his sprint, then arcs around him in one unbroken move and settles off the bow over the water, FRONTAL to Eduardo — he runs and leaps straight into the lens with the ship in the background of his jump. The final blast is the WHOLE SHIP exploding behind his airborne body — a colossal flash, then the wall of smoke bursting forward, swallowing him mid-air and then the lens — the camera stays buried, holding inside the churning dust until the end. ACTION Strict order of events: flying entry from above through falling seawater → hard landing roll (somersault over one shoulder, forward momentum carrying the roll toward the bow, ending in a crouch) → two crewmen flee past, one over the side → left explosion → dodge right → knocked down → a hard, clumsy struggle back to his feet → right explosion → duck and shield behind the mast stump → shove off → full sprint to the bow, camera arcing around to meet him head-on → one boot on the rail → LEAP overboard straight toward the camera → THE INSTANT he clears the rail, the ENTIRE SHIP EXPLODES behind him → the blast wall catches him MID-AIR and swallows him whole → the cloud overtakes the camera → dust to 100% → hold in the dust → END. He never escapes and never reaches the water. Each explosion visibly moves his body: the first throws him down, the second folds him behind cover. PERFORMANCE During the gauntlet: jaw clenched, eyes fixed forward, water streaming off his face after the landing. The fleeing crewmen are pure panic — arms pumping, one glance back, the vault over the rail desperate. In the final sprint: full commitment, arms reaching for the rail, eyes wide — in the jump: full commitment, arms reaching at the lens, eyes wide — and mid-air the world behind him turns white: his flying silhouette swallowed by the blast, reaching hands the last thing visible. PHYSICS The flying entry has true ballistic momentum: he arrives on an arc from above, and the landing roll absorbs it — impact compresses the body, the somersault carries the leftover energy, no weightless float. Falling seawater has real weight — it rains in heavy drops and sheets, splashing off planks, soaking cloth so it clings and darkens. The listing deck tilts his movement; debris has weight and stops his foot when hit. The two deck explosions throw real shockwaves — planks lift, flame flashes then roll into smoke, and Eduardo's falls carry true body weight, hard contact with the deck, no bounce. The overboard crewman drops with real gravity. The final whole-ship explosion obeys mass: the shockwave arrives first — cloth and hair snap flat, the deck bucks under his planted boot — then the fireball's light, then the wall of smoke and debris, heavy pieces falling short, fine dust travelling farthest and swallowing the frame. Dust churns with internal motion, dense, filling every corner of the frame. LIGHTING High sea daylight 5600K, hardened by fire-glow accents from the deck fires and smoke shadow sweeping the deck; falling water catches the sun as bright streaks; each of the two explosions throws a brief warm flash from its side of the frame. The final whole-ship blast: two frames of white-hot overexposure flooding from behind, then deep fire-orange glow inside the rolling dust, fading toward neutral grey-brown as the frame holds and ends. AUDIO Phase 1: a whistling whoosh as he drops in, heavy water raining on planks, a THUD and clatter of the landing roll, grunt, ragged breath; panicked boots of the fleeing crewmen, a yell and a distant splash as one goes over the side; then BOOM left, ringing ears, his grunt as he hits the deck; scrabbling boots; BOOM right, debris pattering down over him. Phase 2: sprinting boots hammering the deck, the wooden knock of his boot on the bow rail, half a beat of pure wind as he hangs in the air — then ONE colossal BOOM as the whole ship goes up behind him, the deepest sound of the film, cracking timber and folding masts inside the roar, everything collapsing into a muffled ring, sound buried with the picture — the ring and the churn of dust holding to the last frame. No music. STYLE Photoreal live-action, fine film grain, real pyrotechnic and particulate language, one unbroken take, 8K master. POSITIVE LOCKS One continuous shot; the camera stays at deck level, behind Eduardo, always looking TOWARD THE BOW. The shot OPENS with Eduardo NOT in frame; he flies in from ABOVE AND BEHIND the camera, over the lens, on a forward arc toward the bow, through falling seawater, and lands in a tumbling roll ahead of the camera — he does not walk into frame and never appears standing before the landing. Exactly TWO fleeing crewmen: one runs aft, one leaps overboard — they appear only in the opening beat. The deck explosions land in strict order after his landing: first LEFT of him (he dodges and falls), then RIGHT of him (he ducks behind cover), then the final blast — the ENTIRE SHIP exploding the INSTANT he clears the bow rail — three explosions total, no more. The jump is FRONTAL: the camera faces Eduardo from off the bow, he leaps toward the lens with the exploding ship behind him in frame. HE NEVER ESCAPES: the blast wall catches him MID-AIR and he vanishes inside the explosion before he can fall clear — no water contact, no landing, no survival beat; the dust swallows him and then the lens. The deck matches >> throughout the run — the shot holds the reference's vantage: from the stern deck forward to the bow, wheel and binnacle at the near edge of frame, never ahead of him; sails, masts and hull match >>. The dust reaches 100% frame coverage and the shot ENDS inside the dust: the frame stays fully dust-filled to the last frame, no clearing, no new location, no reveal. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose." Made with Seedance 2.0 on Higgsfield AI. Full open-sourced prompts & assets below 👇

roman

106,768 Aufrufe • vor 1 Monat

I found a mind-blowing Seedance 2.0 hack no one is talking about. Just upload the first and last frame of your story and prompt: "Show me what happens in between. USE MULTIPLE CAMERA ANGLES" It will generate the entire multi-shot video for you 🤯 10 examples 👇
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I found a mind-blowing Seedance 2.0 hack no one is talking about. Just upload the first and last frame of your story and prompt: "Show me what happens in between. USE MULTIPLE CAMERA ANGLES" It will generate the entire multi-shot video for you 🤯 10 examples 👇

Framer 🇱🇹

134,080 Aufrufe • vor 4 Monaten