Some things run in the family. One 30-second take. Six references held consistent across every cut — two characters, one very unimpressed cat, the car, the location and the title card. Stills: GPT Image 2. Animation: Seedance 2.5, inside Lovart. Full prompts in the thread 🧵

Made in @lovart_ai Here's the whole thing from the inside — loading all six references, dropping in the prompt, and letting Seedance 2.5 build all ten shots in one generation, holding every character, the wardrobe and the light the whole way through. No editing between shots. #Seedance #BuiltWithLovart #AIVideo

Everything I used, so you can build your own 👇 Try it: 📌PROMPT (The granddaughter): 1962 Eastman Color film still, Super Panavision 70, rich saturated vintage color grade, sun-bleached warm highlights, turquoise and cream palette, coarse film grain, soft halation on light sources, large-format cinematic, authentic 1960s photochemical look, no digital sharpness. Character reference sheet on a seamless neutral grey studio background, two views of the same woman. Dominant full-body figure on the left, standing at three-quarter angle with weight on one hip, and a large tight close-up portrait on the right. She is in her late twenties, tall, long legs, very slender waist, long soft blonde wavy hair with warm honey tones falling almost to her waistline, dark brown eyes, winged eyeliner, bold red lipstick, soft closed-lip expression. Large bold gold clip-on statement earrings. She wears a cream silk blouse with sheer full sleeves and a large pussy bow tied at the neck, the fabric catching the light, tucked into a high-waisted turquoise pencil skirt cut above the knee, sheer stockings and pointed stiletto heels. A slim gold wristwatch. Even soft studio lighting, no text, no labels, no graphics. 📌PROMPT (The grandmother): 1962 Eastman Color film still, Super Panavision 70, rich saturated vintage color grade, sun-bleached warm highlights, turquoise and cream palette, coarse film grain, soft halation on light sources, large-format cinematic, authentic 1960s photochemical look, no digital sharpness. Character reference sheet on a seamless neutral grey studio background, two views of the same woman. Dominant full-body figure on the left, standing at three-quarter angle, and a large tight close-up portrait on the right. She is in her early eighties, petite, impeccably poised, with silver-white hair in a perfectly set salon coiffure. Soft red lipstick, pearl earrings, an appraising and slightly imperious expression. She wears an immaculate pink bouclé tweed skirt suit in the Chanel style with contrast trim and gold buttons, white gloves, a small structured handbag, and low kitten heels. Even soft studio lighting, no text, no labels, no graphics. 📌PROMPT (The cat): 1962 Eastman Color film still, Super Panavision 70, rich saturated vintage color grade, sun-bleached warm highlights, turquoise and cream palette, coarse film grain, soft halation on light sources, large-format cinematic, authentic 1960s photochemical look, no digital sharpness. Animal reference sheet on a seamless neutral grey studio background, two views of the same cat. Dominant full-body figure on the left, sitting upright in profile, and a large tight close-up of the face on the right. A very fluffy long-haired white Persian cat, round flat face, wide copper-orange eyes, distinctly grumpy and disapproving expression, thick luxurious coat. A pink satin bow tied on top of her head. Even soft studio lighting, no text, no labels, no graphics. 📌PROMPT (The car): 1962 Eastman Color film still, Super Panavision 70, rich saturated vintage color grade, sun-bleached warm highlights, turquoise and cream palette, coarse film grain, soft halation on light sources, large-format cinematic, authentic 1960s photochemical look, no digital sharpness. A cream white 1962 Mercedes-Benz 220SE convertible with the top down, photographed at a three-quarter front angle on a seamless neutral grey studio background. Deep red leather interior, polished chrome bumpers, chrome trim and wire wheel covers catching warm low sunlight, whitewall tyres. Immaculate condition. Even soft studio lighting, no text, no labels, no graphics. 📌PROMPT (The street): Shot on 1962 Eastman color film, Super Panavision 70, rich vintage color gradient, sun-bleached warm highlights, turquoise and cream palette, coarse film grain, soft halos on light sources, large format cinematic look, authentic 1960s photochemical look, no digital sharpening. Bird's eye view of a sprawling affluent American suburb at golden hour, camera positioned low above the treetops. Majestic two-story mid-century modern homes with white columns, tall windows, decorative iron railings, and manicured topiary. Lush dark green lawns, blooming rose beds, and vibrant coral and pink flower borders, tall palm trees lining the boulevard. Pastel facades of cream, mint and pale coral. A sprinkler system catches the light on one lawn. A warm, low golden sun shines from the left, long soft shadows, a deep, rich turquoise sky. No text, no lettering, no graphics. 📌PROMPT (The title card): Authentic 1962 hand-lettered feature film title card. Pure deep black background. Centred text reading exactly: SOME THINGS RUN IN THE FAMILY. Elegant hand-drawn mid-century display lettering, tall condensed capitals with dramatically thin hairlines and thick swelling strokes, elongated elegant serifs with delicate curved flourishes on the terminals, slightly irregular hand-painted edges, warm cream white with soft ink bleed. Arranged on three centred lines with the middle line smaller. Coarse film grain, gate weave, soft halation glow, faint dust specks. Perfectly correct spelling. No other text, no logos, no borders. 📌PROMPT (30-second scene — Seedance 2.5. Translate the prompt into Chinese to avoid the character limit): SCENE CONTEXT A young woman waits behind the wheel of a cream convertible parked in the driveway of a Beverly Hills mansion at golden hour, 1962. Her grandmother finally emerges from the house carrying a white Persian cat, takes the passenger seat, and wins the argument that follows. The car is left-hand drive: the steering wheel sits on the LEFT side of the cabin, the granddaughter sits behind it at camera-left with her hands on the rim, and the grandmother sits at camera-right in front of the dashboard and glovebox with open space in front of her. The cat stays in the grandmother's arms the entire time. ACTIVE REFERENCES @image1 — woman in her late twenties, honey-blonde waves to the waist, winged eyeliner, red lipstick, large gold clip-on earrings, gold wristwatch on her left wrist. She is the driver. 100% matches the reference. @image2 — woman in her early eighties, silver-white set coiffure, pearl earrings, red lipstick, white gloves. She is the passenger. 100% matches the reference. @image3 — long-haired white Persian cat, flat face, copper eyes, pink satin bow on the top of her head. Carried under the grandmother's right arm in every shot she appears in. 100% matches the reference. @image4 — cream white 1962 convertible, top down, deep red leather interior, heavy chrome, whitewall tyres, steering wheel on the LEFT side of the cabin. 100% matches the reference. @image5 — the street and the mansion. 100% matches the reference. @image6 — the hand-lettered title card reading SOME THINGS RUN IN THE FAMILY in cream serif capitals on black. Appears only in the final segment, from 28.0s onward. 100% matches the reference. LOCATION MAP Foreground: the concrete driveway and the front lawn edge. Midground: the convertible parked nose-in toward the garage, the mansion entrance and its steps standing to camera-right of the car. Background: the palm-lined street receding, flower borders in coral and pink, a sprinkler throwing light on a neighbouring lawn. Low sun rakes from camera-left across every shot. Operator axis stays on the shadow side, camera-right of the sun. FIRST FRAME / BLOCKING Frame opens on the convertible already in motion, swinging onto the street from above. The car occupies the lower third, the palm row leads the eye into depth. From the third shot onward the granddaughter sits behind the steering wheel at camera-left with both hands on the rim, and the grandmother enters and settles at camera-right where the dashboard and glovebox face her, the cat riding in her arms. Faces are framed on the thirds, eyes on the upper third line. FORMAT MODE Timed multishot with HARD CUTs at the stated seconds. Cuts land only at the specified points, the camera holds its own frame between them. OPTICS 0.0–2.0s: EWS at 84°. 2.0–4.5s: WS at 63°. 4.5–8.0s: MCU at 29°. 8.0–13.0s: WS to MS at 47°. 13.0–15.0s: MCU at 29°. 15.0–18.0s: MS at 47°. 18.0–21.5s: MCU at 29°. 21.5–26.0s: CU at 18°. 26.0–27.5s: ECU at 12°. 27.5–30.0s: WS at 63°. Rectilinear prime-lens character, gentle falloff at the frame edge, natural motion blur on movement. FOV holds steady, no drift mid-segment. CAMERA Operator works from the shadow side throughout. Crane descends at 12 km/h in the opening. Ground-level dolly at 20 km/h alongside the car. Handheld inside the car with a 1–2 cm breathing tremor. Push-ins are slow, 3 km/h, motivated by the moment they land on. Focus is pulled by hand, settling a beat after each cut. Tonal character: wide highlight latitude, warm roll-off in the bright chrome, shadows retaining colour rather than going black. ACTION 0.0s to 2.0s — High crane descending over the palm row, following the cream convertible as it swings onto the street below and runs toward the driveway at 30 km/h. Long shadows sweep across the asphalt. 2.0s HARD CUT 2.0s to 4.5s — Camera at ground level, 30 cm above the driveway. The chrome bumper and whitewall tyre sweep past the lens as the car turns in and settles to a stop, the body rocking once on its springs. 4.5s HARD CUT 4.5s to 8.0s — Inside the car, camera looking at the granddaughter from the passenger side. She sits behind the steering wheel at camera-left, both hands resting on the rim. Her left hand lifts off the wheel and turns so she can read the gold watch on her wrist. Her eyes flick to the house, her jaw sets, she exhales through her nose. She says: "One day she'll learn how to be on time." The camera pushes in 15 cm as she speaks. 8.0s HARD CUT 8.0s to 13.0s — Reverse on the mansion entrance, camera low on the driveway. The front doors swing open and the grandmother steps out with the white Persian cat under her right arm, her gloved left hand resting on the rail. She descends the steps one at a time, entirely unhurried. The camera rises 40 cm and pushes in from wide to medium as she comes down. Golden light rims her silver hair and the cat's fur. 13.0s HARD CUT 13.0s to 15.0s — The granddaughter watching through the windscreen from behind the steering wheel at camera-left, handheld, dead level. She blinks once and her lips press together. 15.0s HARD CUT 15.0s to 18.0s — The grandmother arrives at the open passenger window at camera-right, looks down into the car and exhales through her nose. She opens the passenger door and settles into the red leather seat in front of the dashboard and glovebox, the cat still in her arms. Open space stays in front of her knees. 18.0s HARD CUT 18.0s to 21.5s — Interior two-shot from the front of the cabin. The granddaughter is behind the steering wheel at camera-left with her hands on the rim, the grandmother is at camera-right with the dashboard in front of her and the cat in her arms. The granddaughter's eyes drop to the cat, then back up. She says: "She sheds. The whole car will be covered in fur." The camera drifts 10 cm toward the cat as she speaks. 21.5s HARD CUT 21.5s to 26.0s — Tight on the grandmother in the passenger seat at camera-right, the dashboard and glovebox visible behind her shoulder. She turns her head and takes the granddaughter in from hair to hem, slow and level, then faces front. She says: "You shed on my designer chair last time. You don't hear me complaining." The cat looks straight into the lens. 26.0s HARD CUT 26.0s to 27.5s — Extreme close on the granddaughter's right hand snapping the gear lever down while her left hand stays on the steering wheel. She exhales hard through her nose in irritation, her chest dropping with the breath. The frame trembles as the engine takes up. 27.5s HARD CUT 27.5s to 30.0s — Behind the car, camera on the driveway. The convertible pulls away down the palm-lined street into the low sun, chrome flaring, the cat's white shape visible against the red leather. At 28.0s the hand-lettered title card @image6 rises into the frame over the receding car, the cream serif capitals reading SOME THINGS RUN IN THE FAMILY building in brightness through the film grain and holding steady until the last frame while the car continues away underneath. PERFORMANCE The granddaughter: irritation held under control. Nostrils widen on the intake before each line, the masseter tightens visibly through her cheek, her eyes narrow a fraction rather than widen. On the grandmother's answer her mouth opens a few millimetres and closes again with nothing said. On the gear lever her exhale is audible and her shoulders drop with it. The grandmother: absolute stillness. Only her eyes travel. A single unhurried blink before she speaks, chin level, corners of the mouth flat. Both faces carry pore-level skin texture, fine lines around the eyes, capillary warmth in the cheeks under the low sun, wet catch-lights in the iris, visible breath movement in the chest. PHYSICS The car body compresses on its springs and settles when it stops. The cat's long fur lifts and moves in the breeze and shifts weight in the grandmother's arms with real mass. Silk sleeves ripple, tweed holds its shape. Gloved fingers press into the cat's fur and leave it dented. Contact shadows sit hard under the tyres on the concrete. Individual loose cat hairs drift and catch the sun in the air of the cabin. LIGHTING Low golden sun raking from camera-left at roughly 12 degrees above the horizon. Key on the faces comes off the sun, fill bounces up warm off the concrete driveway. Hard specular hits on the chrome bumper and the wire wheel covers. Long soft-edged shadows from the palms fall across the road. White balance 5600K, held constant across every shot. Highlights sit two thirds up the scale and roll off rather than clip. COLOR GRADE Saturated Eastman Color of 1962: the cream lacquer of the car and the pink bouclé tweed read as warm chalky pastels against the deep turquoise of the sky and the skirt. Red leather and red lipstick carry the strongest chroma in frame and pull the eye to the faces. Greens of the lawn stay lush and slightly yellow-shifted. Halation blooms softly around the chrome flares and the sprinkler, and around the title lettering in the final segment. Coarse organic film grain rides through the shadows. WARDROBE Cream silk blouse with sheer sleeves and a bow at the neck, tucked into a turquoise pencil skirt above the knee, sheer stockings, pointed stiletto heels, large gold clip-on earrings. Pink bouclé tweed skirt suit with contrast trim and gold buttons, white gloves, pearl earrings, low kitten heels. Both immaculate and freshly pressed. AUDIO Idling V8 under the dialogue, gravel grit under the tyres, the solid clunk of a heavy 1960s car door, the metal snap of the gear lever, one sharp irritated exhale through the nose on that snap, a distant sprinkler ticking, birdsong, cicadas, silk and tweed rustling, one short dissatisfied huff from the cat, engine taking up at the end. Two voices only: the granddaughter is bright mid-range and clipped, the grandmother is low, dry and unhurried. Dialogue sits forward in the mix, ambience behind it. STYLE Photoreal live-action 1962 feature film, large-format widescreen, coarse organic film grain, faint gate weave, soft optical halation. OUTPUT SETTINGS 1080p, 16:9, real-time playback at 24 fps for every segment start to finish. POSITIVE LOCKS The steering wheel stays on the LEFT side of the cabin in every interior shot. The granddaughter sits behind that steering wheel at camera-left with her hands on the rim, and she is the only person who touches it. The grandmother sits at camera-right in the passenger seat with the dashboard and glovebox in front of her and open space at her knees. Both women hold those positions from the moment she is seated until the last frame. The cat stays under the grandmother's right arm from the moment she appears until the final frame, carried in her arms in the car. The pink satin bow stays on the cat's head in every shot. The granddaughter keeps her honey-blonde waves, winged eyeliner, red lipstick, gold clip-on earrings and gold wristwatch in every shot. The grandmother keeps her silver-white coiffure, pink tweed suit, white gloves and pearl earrings in every shot. The car stays cream white with red leather in every shot. The sun stays camera-left in every shot. Lips move in exact sync with each spoken line. The title card @image6 becomes visible at 28.0s and stays on screen through the final frame, its lettering identical to the reference and spelled SOME THINGS RUN IN THE FAMILY. Real-time motion throughout.

Awesome work, Ivanna🤛😎☕️

Thank you, appreciate it🖤

Wow this is truly amazing

Thank you, that means a lot

Really amazing

Thanks

Character consistency across multiple hard cuts in one Seedance generation is outstanding.

Appreciate it, that was the technical challenge I wanted to solve here

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hahahaha what comes around goes around 🤣 fantastic work Ivana, I like the vibes

Thank you! That line was the whole concept behind the piece

Wow! This is superb! ⭐️⭐️⭐️

Thank you😍

That aesthetic is excellent, perfect for a series 👏

Thank you! Honestly been thinking about turning this into one

Love the consistency here

Thanks, that was the main focus of this whole piece

This is so well done! The consistent references across every shot make it feel like a real film. That cat's expression is perfect 😂

Thank you! That cat basically directed itself

The level of consistency is genuinely impressive.

Thank you

You are really doing some great things!

Thank you, means a lot

amazing family tradition continues

Thank you, exactly the idea behind it

Lovart handled the consistency very well

Yes, it handled the reference-locking side really well here

The creativity behind this prompt is amazing

Thank you, glad it comes through

WOW. I liked this style, great ART

Thanks, glad the style landed with you

That’s fantastic! The facial expression is incredibly natural.

Thanks, really glad the storytelling side came through too, not just the visuals

You nailed it

Thank you

Wow 😍creativity

@AnastasiGa12499 Thanks, this one was fun to build

great job here

Thanks, glad you liked it

It looks like a movie scene!😍🎬 great characters, setting and consistency👌🏻 seedance 2.5 is a game changer 🔥

Thank you! That was exactly the goal — full movie scene, not just a clip

Characters stayed consistent great job 👌

Thank you, that was the whole point of the six references

They're a very good platform and the Agentic model working on. The Canva is pretty dop tbh

Thank you😍

Tue consistency is much stronger now, lovely

Thank you, been working on tightening that every project

This is magic, I love bad bitches!

Haha thanks, glad the vibe landed

This is really impressive ivanna

Appreciate it, this one took a lot of testing to get right

Amazing work dear

Thank you

Impressive consistency across every scene with flawless AI storytelling.

Thank you

Consistency looks really impressive

Appreciate it — six references across every cut, glad it reads clean

That’s really nicely done

Thanks, glad it came together well

Beautiful work

Thank you so much

HEY DIS IS SO NICE

Vintage always looks amazing

Agreed, that old Mercedes and the vintage grade just do all the work

This is awesome, really nice work Ivanna love the final result

Thank you so much, Amira