Video wird geladen...

Video konnte nicht geladen werden

Zur Startseite

Seedance2.0 × パルクール Prompt ↓ A hyper-realistic, 8K resolution, adrenaline-fueled single-take POV action sequence. The camera is chest-mounted on a man wearing camouflage joggers and worn-out black-and-white sneakers. He stands on the dizzying edge of a rusted skyscraper, 1000 feet above a crystalline turquoise ocean. No clouds, no haze—just...

genel_ai's profile picture

GENEL | AIを用いた動画制作

17,053 subscribers

24,201 Aufrufe • vor 6 Monaten •via X (Twitter)

LIVE

Anya Rossi• Live Now

Private livecam show

0 Kommentare

Keine Kommentare verfügbar

Kommentare vom Original-Post werden hier angezeigt

Ähnliche Videos

Prompt : the camera cranes over the mountain rim to a sheer cliff ; the lone rider speeds his motorcycle forward, the launching into the void; he soars above the abyss as the camera tilts with him, sky and ocean colliding below, then the bike goes down first in freefall while the hero dives slowly and then, a parachute snapping open against the roaring backdrop of stone and sea.
0:10

Prompt : the camera cranes over the mountain rim to a sheer cliff ; the lone rider speeds his motorcycle forward, the launching into the void; he soars above the abyss as the camera tilts with him, sky and ocean colliding below, then the bike goes down first in freefall while the hero dives slowly and then, a parachute snapping open against the roaring backdrop of stone and sea.

Umesh

51,953 Aufrufe • vor 1 Jahr

Prompt : The camera cranes over the mountain rim to a sheer cliff ; the lone rider speeds his motorcycle forward, the launching into the void; he soars above the abyss as the camera tilts with him, sky and ocean colliding below, then the bike goes down first in freefall while the hero dives slowly and then, a parachute snapping open against the roaring backdrop of stone and sea.
0:10

Prompt : The camera cranes over the mountain rim to a sheer cliff ; the lone rider speeds his motorcycle forward, the launching into the void; he soars above the abyss as the camera tilts with him, sky and ocean colliding below, then the bike goes down first in freefall while the hero dives slowly and then, a parachute snapping open against the roaring backdrop of stone and sea.

Umesh

13,803 Aufrufe • vor 7 Monaten

Prompt : The camera cranes fast over the mountain rim to a sheer cliff; the lone rider guns his motorcycle forward, launching rapidy into the void; he soars above the abyss as the camera tilts with him, sky and ocean colliding below; high in the air, a faint, shimmering seam opens in the sky—quiet, uncanny, barely there—then blossoms into a subtle portal that pulls the rider; the motorcycle drops first in freefall, tumbling toward the rocks, while the hero is gently drawn upward and slips through the wavering aperture; the portal seals itself with a soft ripple, leaving only the roar of wind and sea.
0:10

Prompt : The camera cranes fast over the mountain rim to a sheer cliff; the lone rider guns his motorcycle forward, launching rapidy into the void; he soars above the abyss as the camera tilts with him, sky and ocean colliding below; high in the air, a faint, shimmering seam opens in the sky—quiet, uncanny, barely there—then blossoms into a subtle portal that pulls the rider; the motorcycle drops first in freefall, tumbling toward the rocks, while the hero is gently drawn upward and slips through the wavering aperture; the portal seals itself with a soft ripple, leaving only the roar of wind and sea.

Umesh

20,256 Aufrufe • vor 11 Monaten

esto antes era un secreto industrial. ahora está abierto. Seedance 2.0 on Higgsfield AI PROMPT 👇 [VISUAL] Shot on ARRI Alexa 35 with anamorphic lenses, cinematic film look, rich color science, organic highlight rolloff, subtle halation, fine film grain, practical in-camera lighting only, real haze, atmospheric particles, natural lens flares, no CGI. Continuing on the empty NYC street between tall buildings, under a harsh midday sun with heat haze rising from the asphalt. The young Latino man walks slowly, exhausted by the heat, handheld camera following from behind at hip height with a slight Dutch angle. He suddenly stops, noticing something ahead. The camera arcs around into a low-angle medium close-up as he stares in confusion. About six meters in front of him, a cold aluminum soda bottle floats at chest height, glowing with a soft white light. Faint cold mist curls from its surface as it gently levitates and slowly rotates, casting a subtle pool of white light onto the asphalt. The camera pushes past his shoulder to reveal the bottle, then tracks forward as he cautiously walks toward it. The bottle’s cool glow softly lights one side of his face while the warm sunlight lights the other. He stops a couple of meters away and slowly raises his hand. The bottle immediately stops drifting and smoothly descends into his open palm. As it touches his hand, the glow fades away, leaving an ordinary cold bottle covered in condensation. The camera tilts up to his face as he looks at it with a small, relieved smile. Slow-motion emphasizes the reveal, the approach, and the bottle descending into his hand before returning to real time. [AUDIO] No music. SFX only. Distant city ambience, warm wind, footsteps, breathing, a faint harmonic hum from the floating bottle, subtle hiss of cold mist, a gentle whoosh as it descends, a soft metallic touch when it lands in his hand, and silence as the glow disappears.
0:15

esto antes era un secreto industrial. ahora está abierto. Seedance 2.0 on Higgsfield AI PROMPT 👇 [VISUAL] Shot on ARRI Alexa 35 with anamorphic lenses, cinematic film look, rich color science, organic highlight rolloff, subtle halation, fine film grain, practical in-camera lighting only, real haze, atmospheric particles, natural lens flares, no CGI. Continuing on the empty NYC street between tall buildings, under a harsh midday sun with heat haze rising from the asphalt. The young Latino man walks slowly, exhausted by the heat, handheld camera following from behind at hip height with a slight Dutch angle. He suddenly stops, noticing something ahead. The camera arcs around into a low-angle medium close-up as he stares in confusion. About six meters in front of him, a cold aluminum soda bottle floats at chest height, glowing with a soft white light. Faint cold mist curls from its surface as it gently levitates and slowly rotates, casting a subtle pool of white light onto the asphalt. The camera pushes past his shoulder to reveal the bottle, then tracks forward as he cautiously walks toward it. The bottle’s cool glow softly lights one side of his face while the warm sunlight lights the other. He stops a couple of meters away and slowly raises his hand. The bottle immediately stops drifting and smoothly descends into his open palm. As it touches his hand, the glow fades away, leaving an ordinary cold bottle covered in condensation. The camera tilts up to his face as he looks at it with a small, relieved smile. Slow-motion emphasizes the reveal, the approach, and the bottle descending into his hand before returning to real time. [AUDIO] No music. SFX only. Distant city ambience, warm wind, footsteps, breathing, a faint harmonic hum from the floating bottle, subtle hiss of cold mist, a gentle whoosh as it descends, a soft metallic touch when it lands in his hand, and silence as the glow disappears.

Marco

139,580 Aufrufe • vor 2 Monaten

Seedance Pro 2.0 - Fighting a colossal mechanical beast Prompt used 👇 A dense industrial refinery during a thunderstorm, metal catwalks and pipes forming a maze above a sea of fire and steam. The masked ronin, lit by flashing warning lights, confronts a colossal mechanical beast with hydraulic limbs and a furnace burning in its chest. The camera barrels after the ronin as he sprints along swaying catwalks, the structure groaning and buckling under the monster’s weight. Sparks and steam constantly obscure the frame as the beast’s limbs smash through railings and tanks, causing explosions that hurl the camera off-axis. Quick, shaky close-ups capture the ronin sliding under swinging metal arms and using chains and cables to slingshot himself upward. In the final movement, the camera chases him in a dizzying upward spiral as he climbs the creature’s back, then cuts to a wide but still trembling shot as he plunges his sword into the furnace chest, sending a pillar of flame skyward that silhouettes his figure against the stormy sky.
0:15

Seedance Pro 2.0 - Fighting a colossal mechanical beast Prompt used 👇 A dense industrial refinery during a thunderstorm, metal catwalks and pipes forming a maze above a sea of fire and steam. The masked ronin, lit by flashing warning lights, confronts a colossal mechanical beast with hydraulic limbs and a furnace burning in its chest. The camera barrels after the ronin as he sprints along swaying catwalks, the structure groaning and buckling under the monster’s weight. Sparks and steam constantly obscure the frame as the beast’s limbs smash through railings and tanks, causing explosions that hurl the camera off-axis. Quick, shaky close-ups capture the ronin sliding under swinging metal arms and using chains and cables to slingshot himself upward. In the final movement, the camera chases him in a dizzying upward spiral as he climbs the creature’s back, then cuts to a wide but still trembling shot as he plunges his sword into the furnace chest, sending a pillar of flame skyward that silhouettes his figure against the stormy sky.

Dheepan Ratnam

98,575 Aufrufe • vor 8 Monaten

Seedance 2.0 Takeshi's Castle (Roller Game version) prompt 🎎 Authentic 1980s Japanese television game show broadcast footage, realistic recreation of original Takeshi's Castle ENG camera footage, natural handheld camera with subtle shake and tracking, broadcast video noise, analog grain, limited dynamic range and color saturation of the era, slight color bleeding on highlights, chaotic energetic atmosphere of the original show. No reference images provided. Generate the entire scene from the text description. 0-3s: [Wide handheld tracking shot from the side] A determined young Japanese male contestant in his mid-20s, short black hair, wearing a bright orange tracksuit with white stripes, white sneakers and a white headband, sprints confidently from the wooden starting platform onto the first of several large spinning cylindrical logs floating over a murky pond. He runs with pumping arms and focused expression as the log begins to rotate slowly beneath his feet, causing his body to wobble slightly. Water ripples and splashes lightly around the base of the logs. 3-6s: [Dynamic medium tracking shot moving alongside] He leaps to the second spinning log at a slightly higher level, landing with bent knees to absorb the impact. The faster-rotating drum spins his feet out from under him; he flails his arms dramatically to regain balance, torso leaning left then right, face shifting from concentration to surprise. The log's wet surface glistens as he struggles to stay upright. 6-9s: [Closer side profile action shot with motion blur] Pushing forward to the third log, his right foot slips on the spinning wet wood. He lurches forward violently, arms windmilling, body twisting as he tries to recover by crouching low. His left leg dips into the water creating a splash, but he pulls it out and continues with desperate momentum, the rotating cylinder throwing off his rhythm. 9-12s: [Dynamic tracking shot from a three-quarter angle] He attempts a running jump to the next log but the combined spin and his forward speed causes him to lose all balance. His body tilts backward sharply, legs kicking in the air, arms reaching out for nothing as he begins to fall off the side of the log. 12-15s: [Impact focused shot with water dynamics] The contestant falls backward off the spinning log into the pond with a huge explosive splash, water shooting up around his body. He submerges briefly, then resurfaces gasping and flailing, completely soaked, as the logs continue their relentless spinning in the background. His expression is one of shocked defeat mixed with the show's signature comedic failure. High fidelity recreation of 1980s analog broadcast video, visible natural grain and broadcast noise, realistic motion characteristics of old ENG cameras, coherent but slightly imperfect physics and movement as seen in original Takeshi's Castle episodes, era-accurate color response and limited dynamic range, stable character with the natural imperfections of analog footage, no modern digital sharpness or artifacts.
0:15

Seedance 2.0 Takeshi's Castle (Roller Game version) prompt 🎎 Authentic 1980s Japanese television game show broadcast footage, realistic recreation of original Takeshi's Castle ENG camera footage, natural handheld camera with subtle shake and tracking, broadcast video noise, analog grain, limited dynamic range and color saturation of the era, slight color bleeding on highlights, chaotic energetic atmosphere of the original show. No reference images provided. Generate the entire scene from the text description. 0-3s: [Wide handheld tracking shot from the side] A determined young Japanese male contestant in his mid-20s, short black hair, wearing a bright orange tracksuit with white stripes, white sneakers and a white headband, sprints confidently from the wooden starting platform onto the first of several large spinning cylindrical logs floating over a murky pond. He runs with pumping arms and focused expression as the log begins to rotate slowly beneath his feet, causing his body to wobble slightly. Water ripples and splashes lightly around the base of the logs. 3-6s: [Dynamic medium tracking shot moving alongside] He leaps to the second spinning log at a slightly higher level, landing with bent knees to absorb the impact. The faster-rotating drum spins his feet out from under him; he flails his arms dramatically to regain balance, torso leaning left then right, face shifting from concentration to surprise. The log's wet surface glistens as he struggles to stay upright. 6-9s: [Closer side profile action shot with motion blur] Pushing forward to the third log, his right foot slips on the spinning wet wood. He lurches forward violently, arms windmilling, body twisting as he tries to recover by crouching low. His left leg dips into the water creating a splash, but he pulls it out and continues with desperate momentum, the rotating cylinder throwing off his rhythm. 9-12s: [Dynamic tracking shot from a three-quarter angle] He attempts a running jump to the next log but the combined spin and his forward speed causes him to lose all balance. His body tilts backward sharply, legs kicking in the air, arms reaching out for nothing as he begins to fall off the side of the log. 12-15s: [Impact focused shot with water dynamics] The contestant falls backward off the spinning log into the pond with a huge explosive splash, water shooting up around his body. He submerges briefly, then resurfaces gasping and flailing, completely soaked, as the logs continue their relentless spinning in the background. His expression is one of shocked defeat mixed with the show's signature comedic failure. High fidelity recreation of 1980s analog broadcast video, visible natural grain and broadcast noise, realistic motion characteristics of old ENG cameras, coherent but slightly imperfect physics and movement as seen in original Takeshi's Castle episodes, era-accurate color response and limited dynamic range, stable character with the natural imperfections of analog footage, no modern digital sharpness or artifacts.

TechHalla

138,188 Aufrufe • vor 3 Monaten

A bully girlfriend decides to prank her boyfriend for social media views! Prompt down below. "Visuals & Art Style: Aesthetic: 9:16 vertical smartphone aspect ratio. Ultra-realistic modern iPhone camera quality. Bright indoor college dorm lighting (a mix of harsh overhead fluorescents and a warm LED desk lamp). Raw TikTok/Reels vlog aesthetic with a slight handheld shake, standard smartphone color science, occasional autofocus breathing, and deep depth of field. Characters: A beautiful, college-aged blonde woman wearing casual but flattering dorm clothes (an oversized university zip-up hoodie over a tight crop top, and athletic shorts). Her boyfriend is a typical college guy in a plain grey t-shirt and sweatpants, wearing a bulky gaming headset. Action & Cinematography: Scene 1 (The Setup): The video opens with a front-facing selfie shot. The blonde woman is holding the phone with one hand, smiling mischievously, and holding a finger to her lips to "shush" the viewer. In her other hand, she holds up a pair of metal scissors and a small clump of fake brown hair. Scene 2 (The Approach): The camera dynamically flips to the rear lens with a quick, authentic smartphone transition. The handheld camera wobbles as she tip-toes across the messy dorm room. Her boyfriend is sitting in a gaming chair with his back to her, intensely focused on a chaotic Street Fighter match on his dual-monitor setup. Scene 3 (The Prank): She sneaks right up behind his chair. She holds the fake clump of hair just above his shoulder, brings the scissors right next to his ear, and aggressively snaps the blades shut while dropping the fake hair directly onto his lap. Scene 4 (The Panic): The boyfriend jumps violently in his chair, immediately ripping his headset off. The camera shakes wildly, perfectly simulating the operator laughing. He looks down at the massive clump of hair in his lap, his eyes going wide with pure horror. He frantically grabs the back of his own head, feeling for a bald spot. Scene 5 (The Cut): The camera quickly flips back to the front-facing selfie lens. The woman is laughing hysterically, her eyes crinkling as she covers her mouth with her free hand. She reaches toward the lens, and the recording abruptly cuts off mid-laugh. Audio & Dialogue: Soundscape: Authentic, slightly compressed smartphone microphone audio. Scene 2 Audio: The muffled, rapid-fire button mashing of an arcade stick, and faint fighting game sound effects leaking from the boyfriend's headset. Scene 3 Audio: A very loud, sharp metallic SNIP right next to the microphone. The Boyfriend (panicking, voice cracking): "Bro, what the fuck?! Wait, did you actually?!" The Woman (overlapping): Genuine, loud, breathless laughter that slightly peaks the phone's microphone audio."
0:13

A bully girlfriend decides to prank her boyfriend for social media views! Prompt down below. "Visuals & Art Style: Aesthetic: 9:16 vertical smartphone aspect ratio. Ultra-realistic modern iPhone camera quality. Bright indoor college dorm lighting (a mix of harsh overhead fluorescents and a warm LED desk lamp). Raw TikTok/Reels vlog aesthetic with a slight handheld shake, standard smartphone color science, occasional autofocus breathing, and deep depth of field. Characters: A beautiful, college-aged blonde woman wearing casual but flattering dorm clothes (an oversized university zip-up hoodie over a tight crop top, and athletic shorts). Her boyfriend is a typical college guy in a plain grey t-shirt and sweatpants, wearing a bulky gaming headset. Action & Cinematography: Scene 1 (The Setup): The video opens with a front-facing selfie shot. The blonde woman is holding the phone with one hand, smiling mischievously, and holding a finger to her lips to "shush" the viewer. In her other hand, she holds up a pair of metal scissors and a small clump of fake brown hair. Scene 2 (The Approach): The camera dynamically flips to the rear lens with a quick, authentic smartphone transition. The handheld camera wobbles as she tip-toes across the messy dorm room. Her boyfriend is sitting in a gaming chair with his back to her, intensely focused on a chaotic Street Fighter match on his dual-monitor setup. Scene 3 (The Prank): She sneaks right up behind his chair. She holds the fake clump of hair just above his shoulder, brings the scissors right next to his ear, and aggressively snaps the blades shut while dropping the fake hair directly onto his lap. Scene 4 (The Panic): The boyfriend jumps violently in his chair, immediately ripping his headset off. The camera shakes wildly, perfectly simulating the operator laughing. He looks down at the massive clump of hair in his lap, his eyes going wide with pure horror. He frantically grabs the back of his own head, feeling for a bald spot. Scene 5 (The Cut): The camera quickly flips back to the front-facing selfie lens. The woman is laughing hysterically, her eyes crinkling as she covers her mouth with her free hand. She reaches toward the lens, and the recording abruptly cuts off mid-laugh. Audio & Dialogue: Soundscape: Authentic, slightly compressed smartphone microphone audio. Scene 2 Audio: The muffled, rapid-fire button mashing of an arcade stick, and faint fighting game sound effects leaking from the boyfriend's headset. Scene 3 Audio: A very loud, sharp metallic SNIP right next to the microphone. The Boyfriend (panicking, voice cracking): "Bro, what the fuck?! Wait, did you actually?!" The Woman (overlapping): Genuine, loud, breathless laughter that slightly peaks the phone's microphone audio."

Kinovi.AI

14,214 Aufrufe • vor 1 Monat

wait what?? Seedance 2.0 went crazy with this prompt 🦾 This is real early 2000s home video footage shot on a VHS camcorder at a crowded public swimming pool. The video has the typical grain, color, and soft quality of consumer video from that era. The camera is very shaky and handheld, filming from the side of the pool. On the diving board there is a very fat man wearing a homemade jetpack made out of what looks like metal tubes and bottles strapped to his back. A group of people around the pool are cheering and laughing, hyping him up. The guy runs and jumps off the diving board, then activates the jetpack mid-air. He manages to fly a few meters forward over the pool, but the jetpack starts struggling under his weight. He slowly loses height and ends up crashing into the water with a big splash. Right after he falls in, another fat guy with a mullet haircut jumps into the pool holding a can of beer. He swims over to the guy with the jetpack, who is still half-floating with the device on, and hands him the beer. The jetpack guy takes it and starts drinking while still in the water. Everyone around the pool goes crazy cheering and laughing at the whole scene. The camera movement is extremely shaky and reactive the entire time, with constant motion, motion blur during the jump and the crash, and the typical imperfections of someone filming with an old camcorder in a crowded place. There are several fast, unplanned cuts as the person filming tries to follow the chaos. Natural sound only: people cheering and laughing, the sound of the jetpack, the big splash when he crashes, and general pool ambience recorded with the camcorder microphone. The result must feel like authentic raw early 2000s home video of someone casually filming an absolutely ridiculous moment at a public swimming pool. Now is your turn! Tweak it and share it 🫡
0:15

wait what?? Seedance 2.0 went crazy with this prompt 🦾 This is real early 2000s home video footage shot on a VHS camcorder at a crowded public swimming pool. The video has the typical grain, color, and soft quality of consumer video from that era. The camera is very shaky and handheld, filming from the side of the pool. On the diving board there is a very fat man wearing a homemade jetpack made out of what looks like metal tubes and bottles strapped to his back. A group of people around the pool are cheering and laughing, hyping him up. The guy runs and jumps off the diving board, then activates the jetpack mid-air. He manages to fly a few meters forward over the pool, but the jetpack starts struggling under his weight. He slowly loses height and ends up crashing into the water with a big splash. Right after he falls in, another fat guy with a mullet haircut jumps into the pool holding a can of beer. He swims over to the guy with the jetpack, who is still half-floating with the device on, and hands him the beer. The jetpack guy takes it and starts drinking while still in the water. Everyone around the pool goes crazy cheering and laughing at the whole scene. The camera movement is extremely shaky and reactive the entire time, with constant motion, motion blur during the jump and the crash, and the typical imperfections of someone filming with an old camcorder in a crowded place. There are several fast, unplanned cuts as the person filming tries to follow the chaos. Natural sound only: people cheering and laughing, the sound of the jetpack, the big splash when he crashes, and general pool ambience recorded with the camcorder microphone. The result must feel like authentic raw early 2000s home video of someone casually filming an absolutely ridiculous moment at a public swimming pool. Now is your turn! Tweak it and share it 🫡

TechHalla

34,084 Aufrufe • vor 3 Monaten

Never make an Asian woman angry, or you'll end up like that guy. Made with Seedance 2.5 on MakeUGC MY PROMPT: A realistic 15-second horizontal 16:9 video filmed in ONE continuous take with no cuts, like a phone recording made by someone sitting at the bar. In a nightclub, an Asian woman and an Asian man play a bottle-flip game behind the bar counter: whoever lands a water bottle upright gets to hit the other on the head with an aluminium bowl. He wins first and hits her. She wins next, hits him back, then kicks him in the stomach, and he falls backwards into the glass liquor display behind him, which shatters. The video ends on him sitting in the wreckage while she stands over him holding the dented bowl. MAIN SUBJECTS The woman: Asian, around 25, very long straight glossy black hair falling past her waist, dark brown eyes, soft natural makeup with nude-rose lips, small pearl stud earrings. She wears a fitted cream-white satin button-up shirt with sleeves rolled to the forearms, a black leather high-waist mini pencil skirt with a small side slit, and glossy black stiletto heels with red soles. The fabric is thick and opaque and stays in place during every movement. Slim athletic build. She stands on the LEFT side of the frame. The man: Asian, around 25, short black textured hair, dark brown eyes, clean-shaven. He wears an open black leather biker jacket, a plain white crew-neck t-shirt under it, light-blue straight-leg jeans and white sneakers. Slim athletic build. He stands on the RIGHT side of the frame. From the very first second his back is about 0.5 metres from a tall glass liquor display cabinet. LOCATION A dim, upscale nightclub bar. Foreground: a long dark wooden bar counter with a glossy black top. On the counter: TWO identical clear plastic 500 ml water bottles, each about one third full, one in front of each player, and ONE thin-walled matte-silver aluminium mixing bowl, about 30 cm in diameter, lying upside down between them. The two players stand behind the counter facing the camera. Midground: on the RIGHT, directly behind the man, a floor-to-ceiling back-bar display cabinet with glass doors and glass shelves, lit warmly from inside and filled with rows of whisky, vodka and champagne bottles. Background: a few club guests in dark clothes standing at the far end of the bar and on stools, holding drinks and watching; behind them a dim dance floor with soft haze and slow-moving magenta and blue lights. The glass cabinet stays fully visible in frame for the whole video. CAMERA AND LOOK Handheld phone camera on the customer side of the bar. It starts LOW, at the height of the bar top, about 40 cm from the man's bottle, then in one smooth movement rises to chest height and settles into a medium-wide shot that keeps both players, the bowl, both bottles and the glass cabinet in frame until the end. Slight hand shake, delayed autofocus on the first bottle landing, mild bloom on the neon, faint noise in the shadows, muted contrast. Lighting comes from the club itself: dim magenta-blue ambient light from the dance floor and warm light from the cabinet shelves, one consistent setup the whole time. Natural skin tones and soft shadows. No glossy beauty lighting, no artificial rim light, no heavy grading. The camera and the person filming never appear in the frame. CONTINUOUS STORY 00:00-00:02 HOOK, HIS FLIP. The video opens mid-action: the man's water bottle is already spinning end over end in the air, close to the low camera and filling a large part of the frame, blurred slightly by delayed autofocus. It completes ONE full rotation, the bottom hits the counter with a dull plastic thud, wobbles once and stays UPRIGHT. A guest at the bar shouts in surprise. The camera rises to the medium-wide shot, revealing both players. 00:02-00:05 HE HITS HER. Without a word, the man grabs the aluminium bowl by the rim with BOTH hands, flips it over and swings it in a short sideways-overhead arc. ONE clear contact: the bottom of the bowl hits the crown of her head with a loud hollow metallic BONG that keeps ringing. On impact the thin aluminium visibly flexes and a shallow round dent stays in the bottom of the bowl. Her head drops a few centimetres, her eyes squeeze shut, her shoulders hunch up, her long hair bounces and swings forward, and her knees bend slightly. She lets out a short "ah" and puts one hand on top of her head. 00:05-00:07 HER REACTION. He puts the dented bowl back on the counter with a light metal clank, dent clearly visible, and gives a small satisfied nod. She slowly straightens up, one hand still on her head, blinking and confused for a moment, then her expression hardens: lips pressed together, jaw tight, a cold, angry stare fixed on him. The guests react with a loud "ooooh" and a few laughs. 00:07-00:09 HER FLIP. Still staring at him, she picks up her water bottle, holds it by the neck and flicks it into the air. Lift-off, ONE full rotation, the bottom lands on the counter with a dull plastic thud and the bottle stays UPRIGHT. His smile disappears. 00:09-00:11 SHE HITS HIM. She grabs the same dented bow l by the rim with BOTH hands and swings it sideways-overhead. ONE clear contact on the crown of his head: another loud hollow metallic BONG with ringing. The aluminium flexes again and a SECOND dent forms next to the first one. His head ducks, he winces hard with his eyes shut, his teeth clench, both his hands fly up to his head, and he lets out a sharp groan. 00:11-00:15 THE KICK AND THE FALL, one continuous action. While he is still holding his head and slightly off balance, she drops the bowl onto the counter with a clang, shifts her weight onto her left leg and delivers a short, straight front push-kick with her right leg at stomach height, the sole of her shoe pushing flat into his stomach. ONE clear contact: he folds forward with a loud exhale, then is pushed backwards off his feet. His back hits the glass doors of the display cabinet: the tempered glass cracks and collapses into a shower of small glass cubes, two shelves tilt, and several liquor bottles fall and smash on the floor with loud crashes and splashing liquid. He slides down and ends up sitting on the floor among broken glass and spilled liquor, stunned, coughing and holding his stomach, unhurt apart from that. She lowers her leg, steps back to the counter, picks up the double-dented bowl, flips her hair back over her shoulder and looks down at him with a cold, satisfied expression. The guests gasp, then shout and laugh. The video ends on that moment. SOUND Quiet, low-volume deep house playing in the background of the club the whole time, with muffled bass and soft murmuring from the guests. Dull plastic thuds of the bottles landing. Two loud hollow metallic BONG sounds with a short metallic ring at each bowl strike. A soft metal clank when the bowl is set down. Her short "ah" after the hit, his sharp groan after his hit, his loud exhale at the kick, coughing at the end. Loud crack and shatter of the glass, falling bottles smashing, liquid splashing. The guests' "ooooh", gasps, shouts and laughter timed to each hit and to the fall. No narration, no laugh track, no sound effects that do not come from the scene. ESSENTIAL CONTINUITY Order of events: his flip, his strike on her, her reaction, her flip, her strike on him, her kick, his fall into the cabinet. ONE bowl only, the same one in every moment; the first dent appears at the first strike and stays, the second dent appears at the second strike and both stay to the end. TWO bottles only, each stays where it landed, upright. The man stands with his back to the glass cabinet from the first second; he falls straight backwards into it, the same direction as the kick. The glass cabinet is fully intact until the moment his back hits it. Bodies never pass through objects; the counter stays between the players and the camera. No blood and no visible injuries; this is comedic slapstick. Both players keep the same faces, hair, outfits and footwear throughout. The lighting, the club and the quiet music stay the same throughout. Preserve her face, hair, outfit, footwear throughout. Preserve his face, hair, outfit, footwear throughout. No cuts, no repeated attempts, no slow motion, no teleportation, no duplicated people, no extra bowls or bottles, no changing outfits, no blood, no CGI appearance, no
0:15

Never make an Asian woman angry, or you'll end up like that guy. Made with Seedance 2.5 on MakeUGC MY PROMPT: A realistic 15-second horizontal 16:9 video filmed in ONE continuous take with no cuts, like a phone recording made by someone sitting at the bar. In a nightclub, an Asian woman and an Asian man play a bottle-flip game behind the bar counter: whoever lands a water bottle upright gets to hit the other on the head with an aluminium bowl. He wins first and hits her. She wins next, hits him back, then kicks him in the stomach, and he falls backwards into the glass liquor display behind him, which shatters. The video ends on him sitting in the wreckage while she stands over him holding the dented bowl. MAIN SUBJECTS The woman: Asian, around 25, very long straight glossy black hair falling past her waist, dark brown eyes, soft natural makeup with nude-rose lips, small pearl stud earrings. She wears a fitted cream-white satin button-up shirt with sleeves rolled to the forearms, a black leather high-waist mini pencil skirt with a small side slit, and glossy black stiletto heels with red soles. The fabric is thick and opaque and stays in place during every movement. Slim athletic build. She stands on the LEFT side of the frame. The man: Asian, around 25, short black textured hair, dark brown eyes, clean-shaven. He wears an open black leather biker jacket, a plain white crew-neck t-shirt under it, light-blue straight-leg jeans and white sneakers. Slim athletic build. He stands on the RIGHT side of the frame. From the very first second his back is about 0.5 metres from a tall glass liquor display cabinet. LOCATION A dim, upscale nightclub bar. Foreground: a long dark wooden bar counter with a glossy black top. On the counter: TWO identical clear plastic 500 ml water bottles, each about one third full, one in front of each player, and ONE thin-walled matte-silver aluminium mixing bowl, about 30 cm in diameter, lying upside down between them. The two players stand behind the counter facing the camera. Midground: on the RIGHT, directly behind the man, a floor-to-ceiling back-bar display cabinet with glass doors and glass shelves, lit warmly from inside and filled with rows of whisky, vodka and champagne bottles. Background: a few club guests in dark clothes standing at the far end of the bar and on stools, holding drinks and watching; behind them a dim dance floor with soft haze and slow-moving magenta and blue lights. The glass cabinet stays fully visible in frame for the whole video. CAMERA AND LOOK Handheld phone camera on the customer side of the bar. It starts LOW, at the height of the bar top, about 40 cm from the man's bottle, then in one smooth movement rises to chest height and settles into a medium-wide shot that keeps both players, the bowl, both bottles and the glass cabinet in frame until the end. Slight hand shake, delayed autofocus on the first bottle landing, mild bloom on the neon, faint noise in the shadows, muted contrast. Lighting comes from the club itself: dim magenta-blue ambient light from the dance floor and warm light from the cabinet shelves, one consistent setup the whole time. Natural skin tones and soft shadows. No glossy beauty lighting, no artificial rim light, no heavy grading. The camera and the person filming never appear in the frame. CONTINUOUS STORY 00:00-00:02 HOOK, HIS FLIP. The video opens mid-action: the man's water bottle is already spinning end over end in the air, close to the low camera and filling a large part of the frame, blurred slightly by delayed autofocus. It completes ONE full rotation, the bottom hits the counter with a dull plastic thud, wobbles once and stays UPRIGHT. A guest at the bar shouts in surprise. The camera rises to the medium-wide shot, revealing both players. 00:02-00:05 HE HITS HER. Without a word, the man grabs the aluminium bowl by the rim with BOTH hands, flips it over and swings it in a short sideways-overhead arc. ONE clear contact: the bottom of the bowl hits the crown of her head with a loud hollow metallic BONG that keeps ringing. On impact the thin aluminium visibly flexes and a shallow round dent stays in the bottom of the bowl. Her head drops a few centimetres, her eyes squeeze shut, her shoulders hunch up, her long hair bounces and swings forward, and her knees bend slightly. She lets out a short "ah" and puts one hand on top of her head. 00:05-00:07 HER REACTION. He puts the dented bowl back on the counter with a light metal clank, dent clearly visible, and gives a small satisfied nod. She slowly straightens up, one hand still on her head, blinking and confused for a moment, then her expression hardens: lips pressed together, jaw tight, a cold, angry stare fixed on him. The guests react with a loud "ooooh" and a few laughs. 00:07-00:09 HER FLIP. Still staring at him, she picks up her water bottle, holds it by the neck and flicks it into the air. Lift-off, ONE full rotation, the bottom lands on the counter with a dull plastic thud and the bottle stays UPRIGHT. His smile disappears. 00:09-00:11 SHE HITS HIM. She grabs the same dented bow l by the rim with BOTH hands and swings it sideways-overhead. ONE clear contact on the crown of his head: another loud hollow metallic BONG with ringing. The aluminium flexes again and a SECOND dent forms next to the first one. His head ducks, he winces hard with his eyes shut, his teeth clench, both his hands fly up to his head, and he lets out a sharp groan. 00:11-00:15 THE KICK AND THE FALL, one continuous action. While he is still holding his head and slightly off balance, she drops the bowl onto the counter with a clang, shifts her weight onto her left leg and delivers a short, straight front push-kick with her right leg at stomach height, the sole of her shoe pushing flat into his stomach. ONE clear contact: he folds forward with a loud exhale, then is pushed backwards off his feet. His back hits the glass doors of the display cabinet: the tempered glass cracks and collapses into a shower of small glass cubes, two shelves tilt, and several liquor bottles fall and smash on the floor with loud crashes and splashing liquid. He slides down and ends up sitting on the floor among broken glass and spilled liquor, stunned, coughing and holding his stomach, unhurt apart from that. She lowers her leg, steps back to the counter, picks up the double-dented bowl, flips her hair back over her shoulder and looks down at him with a cold, satisfied expression. The guests gasp, then shout and laugh. The video ends on that moment. SOUND Quiet, low-volume deep house playing in the background of the club the whole time, with muffled bass and soft murmuring from the guests. Dull plastic thuds of the bottles landing. Two loud hollow metallic BONG sounds with a short metallic ring at each bowl strike. A soft metal clank when the bowl is set down. Her short "ah" after the hit, his sharp groan after his hit, his loud exhale at the kick, coughing at the end. Loud crack and shatter of the glass, falling bottles smashing, liquid splashing. The guests' "ooooh", gasps, shouts and laughter timed to each hit and to the fall. No narration, no laugh track, no sound effects that do not come from the scene. ESSENTIAL CONTINUITY Order of events: his flip, his strike on her, her reaction, her flip, her strike on him, her kick, his fall into the cabinet. ONE bowl only, the same one in every moment; the first dent appears at the first strike and stays, the second dent appears at the second strike and both stay to the end. TWO bottles only, each stays where it landed, upright. The man stands with his back to the glass cabinet from the first second; he falls straight backwards into it, the same direction as the kick. The glass cabinet is fully intact until the moment his back hits it. Bodies never pass through objects; the counter stays between the players and the camera. No blood and no visible injuries; this is comedic slapstick. Both players keep the same faces, hair, outfits and footwear throughout. The lighting, the club and the quiet music stay the same throughout. Preserve her face, hair, outfit, footwear throughout. Preserve his face, hair, outfit, footwear throughout. No cuts, no repeated attempts, no slow motion, no teleportation, no duplicated people, no extra bowls or bottles, no changing outfits, no blood, no CGI appearance, no

Zentrix⌚️

15,314 Aufrufe • vor 7 Tagen

Seedance 2.0 on Higgsfield AI just raised the bar. The quality, motion, and creative control are on another level. Full open-source prompts & assets below. SCENE CONTEXT A young man carries the sleeping woman into her pink bedroom, lays her down on the bed, covers her with the blanket and switches off the lamp, then sits on the floor at the foot of the bed, rests his head on the mattress edge, and falls asleep there, keeping a respectful distance. ACTIVE REFERENCES >>: young man, messy light-brown hair, white t-shirt, carrying then floor-sitting posture, tender careful movement. 100% matches the reference. >>: sleeping young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, pink plaid pajama bottoms, eyes closed, carried then lying tucked in bed. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. LOCATION MAP Pink bedroom, remembered corner by corner from >> and held identical in every shot: - Wooden door with brass knob and dark wood trim / wardrobe on one side wall. - A large ornate pink-and-white Victorian dollhouse standing on the floor against the wall. - A wide window with sheer white curtains, cool outside light filtering through. - A vanity desk with an upright mirror and a pink desk chair beside the window, a leafy potted plant next to it. - A tall warm floor lamp — the main practical light — near the bed, wall-mounted shelves with small items above it, wood wainscoting along the lower wall. - An ornate white bed frame with pink ruffled bedding and a soft pink pillow, the central anchor of the room. - A woven area rug on a wooden floor, light soft clutter (tissue boxes, papers) scattered naturally. Open floor between the door and the bed is his carrying path; clear floor space at the foot of the bed is where he sits. FIRST FRAME AND SPATIAL BLOCKING The first visible frame matches the attached carry reference exactly: he stands mid-room holding her in a bridal carry, her head resting against his chest and shoulder, eyes closed, pink plaid fabric bundled across his forearms, the white ornate bed and pink bedding soft behind, sheer-curtained window and dollhouse readable in the background. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 3.5s, 7.5s, and 11.0s. Real-time motion, gentle handheld for the carry only. No subtitles, no music. OPTICS Shot 1 (carry): 50° diagonal field of view, standard normal lens character, camera 1.5 to 2 meters, clean medium two-shot holding both faces. Shot 2 (lay down): 56° diagonal field of view, near-normal lens character, camera low at the head of the bed looking down along her body, 1 to 1.3 meters, shallow depth on her settling face. Shot 3 (blanket + lamp): 63° diagonal field of view, slightly-wide lens character, camera 2 meters back at a bedside three-quarter angle, wide enough to hold him, the tucked bed, and the floor lamp in frame. Shot 4 (floor sleep): 63° diagonal field of view, slightly-wide lens character, camera low at the foot of the bed, then a slow crane-up to a high three-quarter looking down the length of the bed. CAMERA Shot 1: gentle handheld follow, slow dolly-in with him toward the bed, subtle vertical bob and weight-shift pulse matching the carry, human motion not digital jitter. Shot 2: separate angle from the head of the bed; slow push-in as he lowers her, settling as her head meets the pillow. Shot 3: static-leaning three-quarter as he draws the blanket up and tucks it, then reaches and clicks off the floor lamp; frame holds through the drop into moody low light, her tucked body still framed. Shot 4: low static at the foot of the bed as he sinks to the floor and lowers his head to the mattress edge, then a smooth crane-up to a high three-quarter — her tucked on the bed, him asleep on the floor below. ACTION TIMING 0.0s to 3.5s: he carries her in a bridal hold, walking slowly toward the bed, her head lolling gently against his chest, pigtail swaying with each step. 3.5s HARD CUT. 3.5s to 7.5s: from the head-of-bed angle he lowers her onto the mattress, her shoulders and head settling into the pillow, hair fanning out, body coming to rest. 7.5s HARD CUT. 7.5s to 11.0s: he draws the pink blanket up over her and tucks the edge along her shoulder with both hands, then reaches to the floor lamp and switches it off; the warm glow dies and the room falls to cool moody window light — she lies exactly as he left her, tucked and unmoved. 11.0s HARD CUT. 11.0s to 15.0s: in the dim room he lowers himself to sit on the floor at the foot of the bed, rests his head sideways on the mattress edge near her feet, settles, breathing slows, and he closes his eyes and falls asleep there — not on the bed, a clear respectful distance kept. PHYSICS Her body carries real dead-weight during the carry — limbs sag, head lolls, pigtail swings freely. As he lowers her, pillow and mattress compress under her head and shoulders, hair sliding and resettling; the pink blanket drapes and folds naturally as it is pulled up and tucked. His footsteps are grounded heel-to-toe with real weight transfer. As he sinks to the floor his weight settles, one arm resting on the mattress, head lowering onto the edge which dips slightly; his eyelids close with a soft final settle. LIGHTING Cinematic low-key interior, moody and restrained, never bright or flat. Primary motivation: the warm floor lamp and a low bedside practical, casting soft warm pools with gentle falloff into deep but detailed shadow, cool bluish light from the sheer-curtained window balancing the warmth for filmic warm-cool contrast. Naturalistic film texture, soft grain, gentle highlight rolloff, faces modeled and readable within the low light, not lit up. Shots 1–3 carry the warm lamp motivation. At the lamp switch (shot 3) the room drops to cool low-key window moonlight — atmospheric, shadows deep, her tucked form and his movement still clearly readable, never a crushed black frame. Shot 4 stays in this cool moody light, his sitting, head-lowering, and closing eyes visible, the bed and floor softly modeled by the window. AUDIO Shot 1: soft footsteps, faint effort breath under her weight, a quiet sleepy sigh from her. Shot 2: soft mattress and pillow settle as she comes to rest. Shot 3: gentle blanket rustle as he tucks her in, a quiet lamp-switch click, room tone shifting. Shot 4: a soft floor settle and faint cloth rustle as he sits and lowers his head, then quiet steady breathing from both. No dialogue, no music, no subtitles. POSITIVE LOCKS First frame matches the attached carry reference exactly. Man matches >> exactly, woman matches >> exactly. The bedroom matches >> exactly and every listed corner — door and wood trim, ornate dollhouse, sheer-curtained window, vanity with mirror and pink chair, floor lamp, shelves, ornate white bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. Carrying and laying her down are two separate shots with different angles. Lighting stays cinematic and dim, motivated by the practical lamps, never bright or flat. When the lamp is switched off she remains tucked in the exact pose he left her, unmoved. He does not lie on the bed: he sleeps sitting on the floor at the foot of the bed with his head on the mattress edge, a clear respectful gap kept.
0:15

Seedance 2.0 on Higgsfield AI just raised the bar. The quality, motion, and creative control are on another level. Full open-source prompts & assets below. SCENE CONTEXT A young man carries the sleeping woman into her pink bedroom, lays her down on the bed, covers her with the blanket and switches off the lamp, then sits on the floor at the foot of the bed, rests his head on the mattress edge, and falls asleep there, keeping a respectful distance. ACTIVE REFERENCES >>: young man, messy light-brown hair, white t-shirt, carrying then floor-sitting posture, tender careful movement. 100% matches the reference. >>: sleeping young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, pink plaid pajama bottoms, eyes closed, carried then lying tucked in bed. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. LOCATION MAP Pink bedroom, remembered corner by corner from >> and held identical in every shot: - Wooden door with brass knob and dark wood trim / wardrobe on one side wall. - A large ornate pink-and-white Victorian dollhouse standing on the floor against the wall. - A wide window with sheer white curtains, cool outside light filtering through. - A vanity desk with an upright mirror and a pink desk chair beside the window, a leafy potted plant next to it. - A tall warm floor lamp — the main practical light — near the bed, wall-mounted shelves with small items above it, wood wainscoting along the lower wall. - An ornate white bed frame with pink ruffled bedding and a soft pink pillow, the central anchor of the room. - A woven area rug on a wooden floor, light soft clutter (tissue boxes, papers) scattered naturally. Open floor between the door and the bed is his carrying path; clear floor space at the foot of the bed is where he sits. FIRST FRAME AND SPATIAL BLOCKING The first visible frame matches the attached carry reference exactly: he stands mid-room holding her in a bridal carry, her head resting against his chest and shoulder, eyes closed, pink plaid fabric bundled across his forearms, the white ornate bed and pink bedding soft behind, sheer-curtained window and dollhouse readable in the background. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 3.5s, 7.5s, and 11.0s. Real-time motion, gentle handheld for the carry only. No subtitles, no music. OPTICS Shot 1 (carry): 50° diagonal field of view, standard normal lens character, camera 1.5 to 2 meters, clean medium two-shot holding both faces. Shot 2 (lay down): 56° diagonal field of view, near-normal lens character, camera low at the head of the bed looking down along her body, 1 to 1.3 meters, shallow depth on her settling face. Shot 3 (blanket + lamp): 63° diagonal field of view, slightly-wide lens character, camera 2 meters back at a bedside three-quarter angle, wide enough to hold him, the tucked bed, and the floor lamp in frame. Shot 4 (floor sleep): 63° diagonal field of view, slightly-wide lens character, camera low at the foot of the bed, then a slow crane-up to a high three-quarter looking down the length of the bed. CAMERA Shot 1: gentle handheld follow, slow dolly-in with him toward the bed, subtle vertical bob and weight-shift pulse matching the carry, human motion not digital jitter. Shot 2: separate angle from the head of the bed; slow push-in as he lowers her, settling as her head meets the pillow. Shot 3: static-leaning three-quarter as he draws the blanket up and tucks it, then reaches and clicks off the floor lamp; frame holds through the drop into moody low light, her tucked body still framed. Shot 4: low static at the foot of the bed as he sinks to the floor and lowers his head to the mattress edge, then a smooth crane-up to a high three-quarter — her tucked on the bed, him asleep on the floor below. ACTION TIMING 0.0s to 3.5s: he carries her in a bridal hold, walking slowly toward the bed, her head lolling gently against his chest, pigtail swaying with each step. 3.5s HARD CUT. 3.5s to 7.5s: from the head-of-bed angle he lowers her onto the mattress, her shoulders and head settling into the pillow, hair fanning out, body coming to rest. 7.5s HARD CUT. 7.5s to 11.0s: he draws the pink blanket up over her and tucks the edge along her shoulder with both hands, then reaches to the floor lamp and switches it off; the warm glow dies and the room falls to cool moody window light — she lies exactly as he left her, tucked and unmoved. 11.0s HARD CUT. 11.0s to 15.0s: in the dim room he lowers himself to sit on the floor at the foot of the bed, rests his head sideways on the mattress edge near her feet, settles, breathing slows, and he closes his eyes and falls asleep there — not on the bed, a clear respectful distance kept. PHYSICS Her body carries real dead-weight during the carry — limbs sag, head lolls, pigtail swings freely. As he lowers her, pillow and mattress compress under her head and shoulders, hair sliding and resettling; the pink blanket drapes and folds naturally as it is pulled up and tucked. His footsteps are grounded heel-to-toe with real weight transfer. As he sinks to the floor his weight settles, one arm resting on the mattress, head lowering onto the edge which dips slightly; his eyelids close with a soft final settle. LIGHTING Cinematic low-key interior, moody and restrained, never bright or flat. Primary motivation: the warm floor lamp and a low bedside practical, casting soft warm pools with gentle falloff into deep but detailed shadow, cool bluish light from the sheer-curtained window balancing the warmth for filmic warm-cool contrast. Naturalistic film texture, soft grain, gentle highlight rolloff, faces modeled and readable within the low light, not lit up. Shots 1–3 carry the warm lamp motivation. At the lamp switch (shot 3) the room drops to cool low-key window moonlight — atmospheric, shadows deep, her tucked form and his movement still clearly readable, never a crushed black frame. Shot 4 stays in this cool moody light, his sitting, head-lowering, and closing eyes visible, the bed and floor softly modeled by the window. AUDIO Shot 1: soft footsteps, faint effort breath under her weight, a quiet sleepy sigh from her. Shot 2: soft mattress and pillow settle as she comes to rest. Shot 3: gentle blanket rustle as he tucks her in, a quiet lamp-switch click, room tone shifting. Shot 4: a soft floor settle and faint cloth rustle as he sits and lowers his head, then quiet steady breathing from both. No dialogue, no music, no subtitles. POSITIVE LOCKS First frame matches the attached carry reference exactly. Man matches >> exactly, woman matches >> exactly. The bedroom matches >> exactly and every listed corner — door and wood trim, ornate dollhouse, sheer-curtained window, vanity with mirror and pink chair, floor lamp, shelves, ornate white bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. Carrying and laying her down are two separate shots with different angles. Lighting stays cinematic and dim, motivated by the practical lamps, never bright or flat. When the lamp is switched off she remains tucked in the exact pose he left her, unmoved. He does not lie on the bed: he sleeps sitting on the floor at the foot of the bed with his head on the mattress edge, a clear respectful gap kept.

𝗦𝗮𝗻𝗶𝗮

51,899 Aufrufe • vor 2 Monaten

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 2 Monaten

Created with Seedance 2.0 Prompt: A cinematic, dramatic scene where a young man finds a cursed, organic-looking scythe embedded in black volcanic rock. The scythe is dark and twisted, dripping with a blood-like liquid, with a single glowing red eye blinking at its center. The man reaches out and grabs the handle. As he holds it, a dark, red, vein-like corruption quickly spreads up his arm, consuming his body. He screams in intense pain as his flesh transforms into a terrifying, muscular demon with black horns, glowing red volcanic cracks running across its chest, and sharp teeth. The camera zooms out as the newly transformed demon raises the scythe, roaring toward the stormy, overcast sky amidst a barren, rocky landscape with distant lava fire.
0:15

Created with Seedance 2.0 Prompt: A cinematic, dramatic scene where a young man finds a cursed, organic-looking scythe embedded in black volcanic rock. The scythe is dark and twisted, dripping with a blood-like liquid, with a single glowing red eye blinking at its center. The man reaches out and grabs the handle. As he holds it, a dark, red, vein-like corruption quickly spreads up his arm, consuming his body. He screams in intense pain as his flesh transforms into a terrifying, muscular demon with black horns, glowing red volcanic cracks running across its chest, and sharp teeth. The camera zooms out as the newly transformed demon raises the scythe, roaring toward the stormy, overcast sky amidst a barren, rocky landscape with distant lava fire.

Zyrella

26,704 Aufrufe • vor 4 Monaten

Two cinematic prompts for Seedance 2.0 right here 👇 [STYLE + CAMERA + ATMOSPHERE] Ultra-photorealistic cinematic 15-second action sequence from a grounded action thriller film. Nighttime at an abandoned industrial train yard. Old trains, rusted tracks, broken platforms and warehouses. Strong moonlight and industrial lighting. The visual language is gritty and realistic with hyper-realistic practical destruction. Camera is handheld-dynamic with urgent moves. [IMAGE REFERENCES] No reference images provided. Generate a fully consistent lead character: a male fugitive in his mid-30s, short hair, intense expression. He wears a dark jacket, jeans and boots. Maintain exact same appearance and clothing throughout the clip. [TIMELINE SECOND BY SECOND] 0-3s: [Dynamic handheld tracking shot from side-rear] The man runs across the train yard as a freight train derails violently after hitting a collapsed section of track. Massive train cars tip over and crash into the ground, sending metal, wood and cargo flying. The camera tracks him urgently as the destruction spreads. 3-7s: [Slow continuous orbiting camera moving around the frozen destruction] At the peak of the derailment, everything freezes in perfect realistic physics. Huge train cars, twisted metal, wooden debris and clouds of dust hang motionless in the air with accurate weight and trajectories. The camera performs a smooth, continuous orbit through the frozen chaos, moving between large suspended train cars and passing close to sharp metal fragments while the man remains visible. 7-15s: [Dynamic tracking shot as time resumes] At the 7-second mark time snaps back to forward motion with a slight realistic temporal residue. Some outer debris shows a very subtle reverse lag before continuing. The man has used the frozen moment to dive behind a concrete barrier. When motion resumes, several large pieces of metal miss him. He stays low and runs toward an open warehouse as debris finally crashes down. The camera tracks with him through the dust. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, hyper-realistic rigid body destruction with correct material properties (metal, wood, train parts), perfect frozen mid-air physics, seamless transition from freeze to resume, natural dust interaction, heavy cinematic motion blur on fast debris, stable character performance, movie-level practical destruction VFX quality.
0:15

Two cinematic prompts for Seedance 2.0 right here 👇 [STYLE + CAMERA + ATMOSPHERE] Ultra-photorealistic cinematic 15-second action sequence from a grounded action thriller film. Nighttime at an abandoned industrial train yard. Old trains, rusted tracks, broken platforms and warehouses. Strong moonlight and industrial lighting. The visual language is gritty and realistic with hyper-realistic practical destruction. Camera is handheld-dynamic with urgent moves. [IMAGE REFERENCES] No reference images provided. Generate a fully consistent lead character: a male fugitive in his mid-30s, short hair, intense expression. He wears a dark jacket, jeans and boots. Maintain exact same appearance and clothing throughout the clip. [TIMELINE SECOND BY SECOND] 0-3s: [Dynamic handheld tracking shot from side-rear] The man runs across the train yard as a freight train derails violently after hitting a collapsed section of track. Massive train cars tip over and crash into the ground, sending metal, wood and cargo flying. The camera tracks him urgently as the destruction spreads. 3-7s: [Slow continuous orbiting camera moving around the frozen destruction] At the peak of the derailment, everything freezes in perfect realistic physics. Huge train cars, twisted metal, wooden debris and clouds of dust hang motionless in the air with accurate weight and trajectories. The camera performs a smooth, continuous orbit through the frozen chaos, moving between large suspended train cars and passing close to sharp metal fragments while the man remains visible. 7-15s: [Dynamic tracking shot as time resumes] At the 7-second mark time snaps back to forward motion with a slight realistic temporal residue. Some outer debris shows a very subtle reverse lag before continuing. The man has used the frozen moment to dive behind a concrete barrier. When motion resumes, several large pieces of metal miss him. He stays low and runs toward an open warehouse as debris finally crashes down. The camera tracks with him through the dust. [STYLE & QUALITY BOOSTERS] Photorealistic 8K, hyper-realistic rigid body destruction with correct material properties (metal, wood, train parts), perfect frozen mid-air physics, seamless transition from freeze to resume, natural dust interaction, heavy cinematic motion blur on fast debris, stable character performance, movie-level practical destruction VFX quality.

TechHalla

16,316 Aufrufe • vor 3 Monaten

Created with PixVerse V6 on BudgetPixel AI Title : From Blueprint to Reality Style: Ultra-realistic, cinematic, emotional, 4K, shallow depth of field, realistic lighting, smooth camera movements, detailed architecture, cinematic color grading. Full Prompt: A highly realistic cinematic 15-second video. The scene begins inside a modest room during golden hour. A young man in casual clothes sits at a wooden desk beside a window. Warm sunlight falls across the table, illuminating a detailed blueprint of his dream house. The room is quiet except for the soft sound of birds and a gentle breeze moving the curtains. The camera slowly moves over the blueprint, showing detailed floor plans and sketches. The young man touches the drawing with his fingers, imagining his future home. Suddenly, the blueprint begins to glow with soft golden light. Tiny particles rise into the air, and the room slowly fades away. In a magical transition, the young man finds himself standing at the entrance of the exact house from the blueprint. The camera circles around him as he looks at the beautiful modern home with large glass windows, a green lawn, and warm interior lighting. He slowly walks inside, seeing the spacious living room, elegant furniture, and sunlight entering through the windows. He walks toward the balcony and looks around in disbelief. His eyes fill with happiness and pride. The camera pulls back to reveal the entire house at sunset while he smiles, realizing his dream has become reality. Ultra-realistic textures, cinematic lens flare, volumetric sunlight, realistic shadows, smooth motion, 4K quality. Scene Timing 0–4 sec: Young man studying the blueprint in his room. 4–7 sec: Blueprint glows and magical transition begins. 7–11 sec: He arrives inside the dream house. 11–15 sec: He explores the home and smiles with joy. Voice Over (English) "Every dream starts as a simple drawing... a vision held in our hearts. One moment, it was only lines on paper. The next, I was standing inside the life I always imagined. Dreams become real when we dare to believe in them."
0:15

Created with PixVerse V6 on BudgetPixel AI Title : From Blueprint to Reality Style: Ultra-realistic, cinematic, emotional, 4K, shallow depth of field, realistic lighting, smooth camera movements, detailed architecture, cinematic color grading. Full Prompt: A highly realistic cinematic 15-second video. The scene begins inside a modest room during golden hour. A young man in casual clothes sits at a wooden desk beside a window. Warm sunlight falls across the table, illuminating a detailed blueprint of his dream house. The room is quiet except for the soft sound of birds and a gentle breeze moving the curtains. The camera slowly moves over the blueprint, showing detailed floor plans and sketches. The young man touches the drawing with his fingers, imagining his future home. Suddenly, the blueprint begins to glow with soft golden light. Tiny particles rise into the air, and the room slowly fades away. In a magical transition, the young man finds himself standing at the entrance of the exact house from the blueprint. The camera circles around him as he looks at the beautiful modern home with large glass windows, a green lawn, and warm interior lighting. He slowly walks inside, seeing the spacious living room, elegant furniture, and sunlight entering through the windows. He walks toward the balcony and looks around in disbelief. His eyes fill with happiness and pride. The camera pulls back to reveal the entire house at sunset while he smiles, realizing his dream has become reality. Ultra-realistic textures, cinematic lens flare, volumetric sunlight, realistic shadows, smooth motion, 4K quality. Scene Timing 0–4 sec: Young man studying the blueprint in his room. 4–7 sec: Blueprint glows and magical transition begins. 7–11 sec: He arrives inside the dream house. 11–15 sec: He explores the home and smiles with joy. Voice Over (English) "Every dream starts as a simple drawing... a vision held in our hearts. One moment, it was only lines on paper. The next, I was standing inside the life I always imagined. Dreams become real when we dare to believe in them."

Yashal Ai

13,850 Aufrufe • vor 3 Monaten

Seedance 2.0 Test text to video Prompt: [Shot 1: Frontal Menacing Shot] A medium shot of a SWAT officer in full tactical gear, gas mask, and helmet. He is pointing his assault rifle directly at the camera lens (breaking the fourth wall). He is shouting with visible intensity: "LET THE HOSTAGE GO! DROP THE WEAPON NOW!" [Shot 2: The Threat] Cut to a medium shot of the killer in a dirty tank top, holding a woman in a chokehold. He has a pistol pressed to her head. He is sweating and manic, screaming at the off-screen officer: "STAY BACK! I'LL KILL HER! I SWEAR I'LL DO IT!" [Shot 3: Over-the-Shoulder Resolution] The camera is positioned directly behind the SWAT officer's right shoulder. We see the back of his helmet and his rifle in the foreground. In the distance (mid-ground), the killer is still visible holding the girl. The killer screams one last time: "I'M GONNA DO IT!" after The officer's rifle kicks back with a single sho and hit head enemy. The killer falls instantly. The girl is left standing, shocked but safe. Technical Style: High-shutter speed action, realistic muzzle flashes, handheld camera shake, 24fps, English dialogue.
0:10

Seedance 2.0 Test text to video Prompt: [Shot 1: Frontal Menacing Shot] A medium shot of a SWAT officer in full tactical gear, gas mask, and helmet. He is pointing his assault rifle directly at the camera lens (breaking the fourth wall). He is shouting with visible intensity: "LET THE HOSTAGE GO! DROP THE WEAPON NOW!" [Shot 2: The Threat] Cut to a medium shot of the killer in a dirty tank top, holding a woman in a chokehold. He has a pistol pressed to her head. He is sweating and manic, screaming at the off-screen officer: "STAY BACK! I'LL KILL HER! I SWEAR I'LL DO IT!" [Shot 3: Over-the-Shoulder Resolution] The camera is positioned directly behind the SWAT officer's right shoulder. We see the back of his helmet and his rifle in the foreground. In the distance (mid-ground), the killer is still visible holding the girl. The killer screams one last time: "I'M GONNA DO IT!" after The officer's rifle kicks back with a single sho and hit head enemy. The killer falls instantly. The girl is left standing, shocked but safe. Technical Style: High-shutter speed action, realistic muzzle flashes, handheld camera shake, 24fps, English dialogue.

Marco "Shikoba" Riccetti

236,451 Aufrufe • vor 8 Monaten

Little moment of kindness captured with Seedance 2.0 on Lart AI Try it yourself: A highly realistic 12-second vertical (16:9) cinematic short film filmed as if on a smartphone with natural handheld movement. A young man is standing on a pedestrian bridge over a calm river, texting on his smartphone. He accidentally fumbles it, and the phone slips from his hand. The camera follows the phone as it tumbles realistically through the air under gravity. At that exact moment, a small fishing boat is passing beneath the bridge. The experienced boat captain notices the falling phone, quickly reacts, and skillfully lifts a fishing net upward. The phone lands safely inside the net with realistic momentum and bounce. The captain smiles, docks beside the bridge, hands the phone back to the surprised owner, who gratefully says, "Thank you so much!" The captain simply nods with a warm smile before leaving. Golden-hour natural lighting, authentic facial expressions, physically accurate falling motion, realistic boat movement and water ripples, no impossible actions, no slow motion, no CGI-style effects, no jump cuts, cinematic depth of field, natural ambient sounds only (river, birds, engine, footsteps, dialogue), emotionally uplifting ending.
0:12

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

Ruzaina

15,359 Aufrufe • vor 2 Monaten

GPT image 2 and Seedance 2.0 Prompt: A photorealistic, cinematic live television broadcast video set in a crowded indoor sports arena. The video starts with a shot of a massive, glowing jumbotron suspended from the ceiling, showing an Asian man with glasses and a blue varsity jacket taking a bite of a hamburger. The camera immediately cuts to the actual man sitting in the stadium seats among a cheering, slightly blurred crowd. As he chews, he suddenly realizes he is on the big screen. He freezes, looks surprised with his cheeks full of food, then breaks into an embarrassed, good-natured smile and waves awkwardly at the camera. The lighting is bright, even stadium floodlights. High-quality sports broadcast aesthetic, complete with realistic digital overlays, a 'LIVE' badge, and Korean broadcast graphics, 8k resolution, captured on professional broadcast cameras.
0:10

GPT image 2 and Seedance 2.0 Prompt: A photorealistic, cinematic live television broadcast video set in a crowded indoor sports arena. The video starts with a shot of a massive, glowing jumbotron suspended from the ceiling, showing an Asian man with glasses and a blue varsity jacket taking a bite of a hamburger. The camera immediately cuts to the actual man sitting in the stadium seats among a cheering, slightly blurred crowd. As he chews, he suddenly realizes he is on the big screen. He freezes, looks surprised with his cheeks full of food, then breaks into an embarrassed, good-natured smile and waves awkwardly at the camera. The lighting is bright, even stadium floodlights. High-quality sports broadcast aesthetic, complete with realistic digital overlays, a 'LIVE' badge, and Korean broadcast graphics, 8k resolution, captured on professional broadcast cameras.

Taaruk

15,018 Aufrufe • vor 5 Monaten

Seedance 2.0 on Nsketch AI Prompt: Speeder chase across a cliff city (single continuous shot) From a monumental cliffside city carved into stone, the camera dives toward a tiny streak of light ripping along a narrow ledge-road. Lock-on: a speeder hugging the wall at insane speed. The camera slingshots ahead, whips back, then drops tight to the rear thrusters: heat haze, grit snapping off the ledge, warning lights flashing. A collapsing balcony rains debris; the rider snaps a last-inch swerve under a falling arch, then threads through hanging laundry lines and open windows in one fluid line. The camera darts through the same openings, staying glued to the motion. One final bend and sudden calm: the camera blasts outward into a reveal of the city opening onto a boundless waterfall-fed valley, mist turning into rainbow.The rainbow mist lingers for half a second — serenity — then a SHADOW slices across it. From above, two black pursuit speeders dive through the mist, engines screaming. The camera tilts up just as the lead speeder banks hard off the cliff edge, skimming inches above the waterfall’s roaring drop. Spray explodes across the lens but never cuts. The camera rolls with the rider as they plunge straight down the waterfall face — not falling, but riding the vertical air current. Thrusters flare blue-white, stabilizers flickering. Pursuit crafts follow, firing pulse shots that streak through the mist like comets. The rider kicks sideways into a cavern hidden behind the waterfall curtain. The camera punches through liquid light into darkness — bioluminescent moss ignites along the cave walls, revealing an ancient tunnel carved by forgotten hands. Water drips in slow motion as the speed never drops. The camera swings low beneath the speeder, hugging the water-slick stone. Sparks burst as the underside grazes rock. Ahead: a broken bridge spanning a massive underground chasm. No slowdown. The rider guns it. The camera races ahead, flips 180° mid-air as the speeder launches the gap. For a breathless second, only void below — a bottomless abyss glowing faintly with magma veins. Mid-jump, one pursuer clips the edge and spirals down, vanishing into the darkness. The second clears it. Landing hard, the rider blasts toward a vertical shaft of daylight spearing down from above. The tunnel narrows — ancient gears and colossal stone mechanisms begin turning, triggered by the intrusion. Rotating rings. Crushing slabs.
0:15

Seedance 2.0 on Nsketch AI Prompt: Speeder chase across a cliff city (single continuous shot) From a monumental cliffside city carved into stone, the camera dives toward a tiny streak of light ripping along a narrow ledge-road. Lock-on: a speeder hugging the wall at insane speed. The camera slingshots ahead, whips back, then drops tight to the rear thrusters: heat haze, grit snapping off the ledge, warning lights flashing. A collapsing balcony rains debris; the rider snaps a last-inch swerve under a falling arch, then threads through hanging laundry lines and open windows in one fluid line. The camera darts through the same openings, staying glued to the motion. One final bend and sudden calm: the camera blasts outward into a reveal of the city opening onto a boundless waterfall-fed valley, mist turning into rainbow.The rainbow mist lingers for half a second — serenity — then a SHADOW slices across it. From above, two black pursuit speeders dive through the mist, engines screaming. The camera tilts up just as the lead speeder banks hard off the cliff edge, skimming inches above the waterfall’s roaring drop. Spray explodes across the lens but never cuts. The camera rolls with the rider as they plunge straight down the waterfall face — not falling, but riding the vertical air current. Thrusters flare blue-white, stabilizers flickering. Pursuit crafts follow, firing pulse shots that streak through the mist like comets. The rider kicks sideways into a cavern hidden behind the waterfall curtain. The camera punches through liquid light into darkness — bioluminescent moss ignites along the cave walls, revealing an ancient tunnel carved by forgotten hands. Water drips in slow motion as the speed never drops. The camera swings low beneath the speeder, hugging the water-slick stone. Sparks burst as the underside grazes rock. Ahead: a broken bridge spanning a massive underground chasm. No slowdown. The rider guns it. The camera races ahead, flips 180° mid-air as the speeder launches the gap. For a breathless second, only void below — a bottomless abyss glowing faintly with magma veins. Mid-jump, one pursuer clips the edge and spirals down, vanishing into the darkness. The second clears it. Landing hard, the rider blasts toward a vertical shaft of daylight spearing down from above. The tunnel narrows — ancient gears and colossal stone mechanisms begin turning, triggered by the intrusion. Rotating rings. Crushing slabs.

Zara

17,702 Aufrufe • vor 6 Monaten