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Wan 3.0 vs Seedance 2.5 - same viral video There is only one ruler and it's clear who prompt: Raw vertical phone video (UGC), handheld throughout, filmed by a friend who walks with the group, casual sway, natural night lighting, wide-angle lens, deep focus. Characters The hero is a...

191,123 views • 1 month ago •via X (Twitter)

87 Comments

CypherDom's profile picture
CypherDom1 month ago

Seedance is a lot more iPhone-hdr-night-shit, but Wan is ugly, screams AI.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Wan = plastic

Neo's profile picture
Neo1 month ago

Sedance 4.0 will be full reality

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

💯

Gareth 🏖️'s profile picture
Gareth 🏖️1 month ago

Seedance is more filmic and believable in low light. Movement is also better on Seedance, despite the worse resolution of the video

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Low res tricks the viewer

Gareth 🏖️'s profile picture
Gareth 🏖️1 month ago

If you consider the prompt, shot on a phone then the lighting is actually very accurate. Small lenses means you get this smearing and light exposure level. For video its the movement that counts, same thing in video games. The last of us and Uncharted look great due to the realism of the animations and the lighting model. The texture resolution is not nearly as important past a certain baseline

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

And other than the theory stuff which one looks more loyal to the prompt intention?

Gareth 🏖️'s profile picture
Gareth 🏖️1 month ago

Ive seen other examples also. Wan is impressive for the cost for sure but these issues are repeated. Its lighting, contrast, movement and general shot quality is a generation behind seedance. Its detail is higher however. Theres definitely a place for Wan for creating product or physical location shots, but maybe not quite for UGC

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Quite lousy for UGC tbh

Gareth 🏖️'s profile picture
Gareth 🏖️1 month ago

Agreed

Chukwuma's profile picture
Chukwuma1 month ago

Wow. Seedance 2.5 is better and more realistic here. 💯 for scenes, layouts and character consistency.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

correct

Max1276's profile picture
Max12761 month ago

Wan 3 is impressive and for me more natural

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Really?

Max1276's profile picture
Max12761 month ago

for me yes ,but is only my personal opinion i haven't still tested ,but looking the video you posted i fid Wn 3 more natural

Gareth 🏖️'s profile picture
Gareth 🏖️1 month ago

@mightyking You need to get your eyes checked

Max1276's profile picture
Max12761 month ago

@mightyking learn manners first

AMR_Intel's profile picture
AMR_Intel1 month ago

WAN hallucinated a place when thé girl is running

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

@Amir_Intel WAN in general looks like crisp wrong output

The AI Dude's profile picture
The AI Dude1 month ago

WAN is keep getting better

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Still plastic though

The AI Dude's profile picture
The AI Dude1 month ago

i know it can't compare to Seedance

PotatoCrusaderv17's profile picture
PotatoCrusaderv171 month ago

The only real competition for Seedance is H3, and it's mostly for Anime stuff where it sometimes can even feel better other video models are miles behind those two

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

H3 is flop for realism

PotatoCrusaderv17's profile picture
PotatoCrusaderv171 month ago

Not even tried to go with realism with it since I still have unlimited Seedance for a while :D But with anime gens the only thing where H3 will fall off are voices, Seedance 2.5 finally has good speech while 2.0 had embarrassing audio quality for that expensive model :D

Craig Duncan / @fludded's profile picture
Craig Duncan / @fludded1 month ago

Tried your prompt on Grok... poor Grok.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

long way to grok

Soft Signal ∞'s profile picture
Soft Signal ∞1 month ago

Seendance 2.5: the woman’s movements are reminiscent of those of a dolphin or a sea lion coming out of the water 🤣. Movements and respect for physical laws seem better preserved in this example by Wan 3.0.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

But wan also looked for the easy way out with the ladder

Elsi Hametaj's profile picture
Elsi Hametaj1 month ago

Problem is Wan can't act and is slow in movements.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

and also makes up a ladder to deal with the decision on how to get the girl out of the water

Elsi Hametaj's profile picture
Elsi Hametaj1 month ago

I am talking about the model in general based on a ton of gens I did for my own daily work. Wouldn't judge a model based on a specific output here on X.

Amnesty Sports's profile picture
Amnesty Sports1 month ago

Wan's lights a little too perfect like a movie set. The struggle/gravity of the climb more impressive in Seedance.

Rex's profile picture
Rex1 month ago

Wan is cookin

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Ya just trollin

Little Billy B 🐾🌈❤️'s profile picture
Little Billy B 🐾🌈❤️1 month ago

Wan 3.0 turns the bottom of the marina in to a swimming pool & breaks visual continuity with her run up. Wan gets bonus points for the ladder. Ugly sandals in Wan lose a point. Sandals vanish in both before she dives, but reappear in Wan on water exit. SD 2.0 just wins.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

The ladder because it knew it will mess up without it. it's actually a point lost

Little Billy B 🐾🌈❤️'s profile picture
Little Billy B 🐾🌈❤️1 month ago

Putting the ladder in shows Wan 3.0 performing critical thinking. In Seedance 2.5, there's no way she gets out the water, and it even shows here defying gravity to get out.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

critical thinking? if there is no one that thinks, who is the thinker?

5emi's profile picture
5emi1 month ago

Seedance has a flawless victory

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

True that

Pedro E. Caparrós Torres's profile picture
Pedro E. Caparrós Torres1 month ago

WAN 3 is impressive with the body movements! Just pay attention to the muscles and tension; you can see every step has an impact on the legs and the arms. No reaction on the body of seedance 2.5. But besides that, still a little too much plastic, seedance 2.5 feels more natural but impressive work from wan!

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

plastic remains the biggest issue of opensource models

Meris Dabhi's profile picture
Meris Dabhi1 month ago

Where is her purse 🤨🤨

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

she never had one

Meris Dabhi's profile picture
Meris Dabhi1 month ago

😅

Lona Trinh's profile picture
Lona Trinh1 month ago

SEEDANCE ist real

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Richtig

Lona Trinh's profile picture
Lona Trinh1 month ago

Ja, Viele Danke

Fares's profile picture
Fares1 month ago

Wan = AI SLOP

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

100%

sanjay prasad hs's profile picture
sanjay prasad hs1 month ago

In terms of realism, Seedance just wins.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

every single time

Akash's profile picture
Akash1 month ago

This is truly amazing Wan 3.0 looks much more realistic it just struggles with consistency, the woman jumps in with slippers but then it disappears just before she enters the water

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Wan is the clear loser

Bonaventura S's profile picture
Bonaventura S1 month ago

just need to fix their movement, model vision already looks realistic enough for seedance.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Nah, still plastic minimax style

Bonaventura S's profile picture
Bonaventura S1 month ago

i'm talking about the left one (seedance 2.5) not the right side one (wan 3.0)

am_kalhel's profile picture
am_kalhel1 month ago

Seedance 2.5 is so fucking real. Broo

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

I know, right?

am_kalhel's profile picture
am_kalhel1 month ago

But too dmn expensive... I love free products cos I can't afford them yet..

Tat Banerjee's profile picture
Tat Banerjee1 month ago

The Wan 3.0 video gives better quality, but it somehow has more of an "AI" vibe. It looks less natural.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

to me not

Lionhead🦁's profile picture
Lionhead🦁1 month ago

They are both not perfect, but seedance wins it.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

I agree

T ⚡️'s profile picture
T ⚡️1 month ago

What's the problem with AI is that every videos are so perfect. perfect lightings perfect camera movement. Most of the times we see the character has a proper 3 points lighting on them, whether is it indoor, outdoor. But in this comparison. Seedance is more natural as compared to Wan 3.0

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Flux 4 might challenge those problems

T ⚡️'s profile picture
T ⚡️1 month ago

Then I'd like to try that

AI Mastery Guide's profile picture
AI Mastery Guide1 month ago

Wan looks way more real

Acz's profile picture
Acz1 month ago

Where’s the pasta?

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

that test is dead

Acz's profile picture
Acz1 month ago

It was a joke ;)

G-Code's profile picture
G-Code1 month ago

W3 awesome

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Seriously?

Ne Za's profile picture
Ne Za1 month ago

seedance was more realistic to me. to be honest until lately I wasn't been aware its AI

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

it's scary

Juwelier Kuhl's profile picture
Juwelier Kuhl1 month ago

Actually, I prefer Seadance. But in this case, to be honest, I like the video by Wan even better.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

you just seek attention don't you

Juwelier Kuhl's profile picture
Juwelier Kuhl1 month ago

Personally, I use Seadance and Kling almost exclusively. However, I noticed several details in these two videos that I prefer in the Wan video. For instance, the climbing-up scene feels more realistic to me in the Wan video.

ClawQuest's profile picture
ClawQuest1 month ago

seedance win 💯

Andrey Baksalyar's profile picture
Andrey Baksalyar1 month ago

I like how this “oversharpened smartphone video” style was captured by WAN3 . In this case, Seedance 2.5 gives a lame result, but it seems more like a skill issue.

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

ragebait

PotatoCrusaderv17's profile picture
PotatoCrusaderv171 month ago

Wan was relevant only at 2.2 time, now is bad, overpriced model for gooners. And H3 will do gooning better so WAN is model for retarded gooners

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

Goon to the moon

Hoko Morbus's profile picture
Hoko Morbus1 month ago

Seedance 2.5 BEAST

Stav Zilbershtein's profile picture
Stav Zilbershtein1 month ago

correct

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Curious Refuge

25,712 views • 8 months ago

What if every beautiful moment disappears before we even realize it was happening? Seedance 2.5 on TapNow Prompt A cinematic fashion short film, ~20 seconds, 24fps, anamorphic widescreen, filmic grain, teal-and-warm color grade with slightly crushed blacks and lifted highlights. Subject is a pale young woman @[Image 1](image_1) with a short pastel pink bob and blunt bangs, cool blue eyes, wearing an oversized soft green T-shirt layered over a thin white long-sleeve, a flowing brown-orange-grey plaid skirt, and slouchy babypink knee-high boots. Mood is poetic, solitary, and slightly melancholic — time passing through a historic European city (Haussmann stone facades, colonnades, courtyards, waterfront, ornate interiors). Heavy use of motion blur, whip pans, low-angle tracking, shallow depth of field, and mixed slow/fast motion. **Shot sequence / visual language** - Opening whip-pan across a row of pale stone arches and columns, interiors glowing warm behind glass, strong horizontal motion blur. - Low-angle medium of the woman new version.jpeg walking toward camera through a historic courtyard; face slightly soft/out of focus at first, green shirt filling the frame, stone palace architecture behind her. - She @[Image 1](image_1) looks upward, profile against a pale sky and ornate upper stories; contemplative, wind in her hair. - Cut to a flock of pigeons exploding off a blue-shuttered historic facade, heavy motion blur, birds streaking across the frame. - She sits on a stone balustrade between tall columns, one black boot kicked up, plaid skirt fanned, looking directly at camera with a still, distant expression. - Close low-angle as she leans her head on her shoulder against a large arched window; warm interior light in the glass. - Fast blurred street shot: a cyan pedestrian light, traffic, reflections on glass. - Close tracking of her legs and slouchy black boots walking on grey stone pavement, skirt swinging. - Overexposed high-key medium of her walking toward camera in a bright square, buildings and flags washed almost white. - Profile/three-quarter as she walks along a waterfront or bridge at golden hour, city buildings and water lights behind her. - Interior: ornate stained-glass lunette with a helmeted warrior, zodiac/animal motifs, sun flare through the panes, hanging lantern. - Motion-blurred spin/whip of her turning in front of a colonnaded palace facade. - Low tracking of her standing on a stone pedestal/balustrade, only boots and skirt visible at first. - Low-angle walking shot looking up at her against grand columns and windows. - She sits on the dark sculpted rim of a fountain, knees drawn up, looking off-camera. - Extreme close-up of her hand trailing fingers through fountain water, ripples and reflections. - Tight frontal portrait against a dark carved wooden door with iron scrollwork; intense eye contact, almost still. - Abstract whip-pan of stone and sky. - Final aerial of a dense European city (Paris-like rooftops, a pedestrian bridge over a cut, autumn trees, traffic). **Voiceover (calm, slightly distant female voice, sparse, over ambient city + soft score)** Everything is already leaving. "The dark holds what daylight drops. A step is a promise the ground won’t keep. Time doesn’t wait. It only looks back." **Technical / style keywords** Cinematic fashion film, editorial movement, motion blur, anamorphic flares, golden-hour mixed with overcast stone, shallow DOF, low angles, tracking and whip pans, film grain, teal-orange grade, contemplative pacing, no dialogue except VO, high-end commercial look (think luxury fashion campaign meets short art film).

Sharon Riley

16,754 views • 24 days ago

Who is next? This AI Video is absolutely insane Seedance 2.5 on DomoAI official prompt Resolution: 4K, 60fps Style: Ultra-photorealistic Korean action-drama cinematography, realistic live-action performances, fast-paced physical combat, natural daylight, dynamic handheld camera movement. SETTING A modern South Korean high school during daytime. A long, straight corridor with large rectangular windows along the left wall, beige classroom walls, wooden-framed glass classroom doors along the right, polished light-gray floors reflecting sunlight, white fluorescent ceiling lights, green exit signs, and red fire extinguishers positioned against the walls. Bright natural afternoon sunlight enters through the windows, creating strong rectangular patches of light across the corridor floor. Green trees and distant apartment buildings are visible outside. The entire action takes place within this same continuous school corridor. CHARACTERS FEMALE LEAD Grok-image-b16c1304-9c31-4c04-842d-d50f1a719e65 (1) She wears an elegant pastel-pink cropped school-uniform-style blazer with structured shoulders, long sleeves, a tailored waist, notch lapels, front buttons, and a small embroidered school crest on the chest pocket. Underneath is a crisp white collared shirt with a large pink-and-burgundy plaid ribbon bow tied neatly around the collar. She wears a high-waisted, short pink plaid pleated skirt with a soft A-line silhouette, featuring subtle gray and burgundy check patterns. Her outfit is completed with white knee-high socks featuring two delicate pink horizontal stripes near the top and chunky white platform sneakers. Her movements are extremely quick, agile, athletic, and physically convincing. Her hair flies naturally during running, turning, and fighting. MALE LEAD: A handsome Korean man, 22, with slightly messy short purple hair, fair skin, and a slim athletic physique. He wears a dark charcoal school blazer with matching green school badge, black V-neck sweater, white shirt, burgundy-red tie, and black school trousers. He has a surprised, concerned expression during the final confrontation. MALE ATTACKERS: Four Korean men, ages 21–24, wearing slightly disheveled dark school uniforms, purple trousers, and sneakers. Some have loosened ties or open blazers. Their expressions are aggressive, frantic, and determined. One carries a short wooden stick. All characters must maintain consistent faces, hairstyles, uniforms, and body proportions throughout. SHOT-BY-SHOT ACTION SHOT 1 — 0:00–0:02 | THE THREAT Medium rear-facing shot inside a classroom doorway. The female lead stands with her back toward the camera, pushing open a large beige wooden classroom door with both hands. Several angry male students in dark uniforms stand clustered inside the doorway, blocking her path. One male student stands prominently in the center, staring at her. She immediately realizes she is surrounded. Camera: Static medium shot with a slight handheld tremor. Natural daylight and realistic shadows. SHOT 2 — 0:02–0:04 | SUDDEN ESCAPE Hard cut to the long school corridor. The female lead bursts into the hallway and runs toward the camera at full speed. Her black hair whips across her shoulders, her blazer flutters, and her plaid skirt moves naturally with her rapid footsteps. She glances sideways while extending one arm for balance as she accelerates. Camera: Fast backward tracking shot, slightly low angle, 35mm lens. Background motion blur while her face remains relatively sharp. SHOT 3 — 0:04–0:06 | THE PURSUIT Wide tracking shot looking down the hallway. Four male attackers sprint after her, shouting aggressively. The nearest attacker leans forward while running, almost losing his balance. Another follows with his mouth wide open, while a third carries a wooden stick. Their shoes strike the polished floor loudly. Camera: Handheld backward tracking, rapid movement, subtle camera shake, energetic action-film pacing. SHOT 4 — 0:06–0:10 | EXPLOSIVE CORRIDOR FIGHT Cut to a wide side-angle shot near the large corridor windows. The female lead abruptly stops running, plants her feet wide apart, and turns to confront the approaching attackers. The first male attacker rushes toward her. She quickly evades his charge, causing him to stumble and crash onto the floor. A second attacker charges with a wooden stick raised above his shoulder. She twists her torso, shifts her weight, and dodges his swinging attack. Another attacker loses his footing and slides across the polished floor behind them. The action is fast, aggressive, and physically grounded, with convincing momentum and clear spatial continuity. Camera: Wide 24mm lens, dynamic handheld movement, rapid lateral tracking. Keep full bodies visible during major movements. SHOT 5 — 0:10–0:12 | THE KICK Extreme close-up of the female lead delivering a powerful forward kick. Her white sneaker drives into the torso of an approaching attacker, compressing the dark fabric of his uniform at the point of contact. His upper body recoils backward from the force. Cut immediately to a close-up of her face. She stands still, breathing hard, her expression cold and focused, with strands of black hair falling around her cheeks. Camera: Fast impact close-up followed by a steady 85mm portrait shot. Shallow depth of field, realistic fabric deformation, and natural skin texture. SHOT 6 — 0:12–0:15 | THE WOODEN STICK Wide corridor shot. A male attacker swings a short wooden stick horizontally toward the female lead. She rotates sharply, her hair whipping outward, and narrowly avoids the strike. The wooden stick passes across the foreground, creating a dramatic motion blur. She completes her turn and regains her balance near the windows. Camera: Fast lateral tracking shot with a brief whip-pan following her rotation. Natural-speed combat without exaggerated slow motion. SHOT 7 — 0:15–0:18 | UNEXPECTED ENCOUNTER Cut to a medium frontal shot of the male lead standing in the corridor. He is motionless, staring ahead with widened eyes and slightly parted lips. His expression shows surprise and disbelief at the chaotic fight unfolding before him. Cut to an over-the-shoulder view from behind the female lead. One of the attackers suddenly turns and runs away down the long corridor, disappearing into the distance. The hallway becomes momentarily quiet. Camera: Steady medium close-up followed by a long-lens hallway perspective emphasizing depth and distance. SHOT 8 — 0:18–0:24 | FINAL CONFRONTATION Cut to a medium close-up of the female lead standing in the corridor. She faces the male lead, breathing heavily after the fight. Her black hair is slightly disheveled, her uniform remains intact, and her expression shifts from fierce determination to cautious surprise. She stares directly toward him. The bright school windows behind her create a soft natural rim light around her hair. She remains nearly motionless as the camera slowly pushes closer. A short Korean male voice is heard from off-screen: "들어와." (Come in.) The female lead reacts with a subtle change in expression, her eyes widening slightly. Hold on her face for the final moment. End with a clean cinematic cut. CINEMATOGRAPHY Photorealistic Korean action-drama production quality. 24mm wide-angle lens for full-body fight choreography. 35mm handheld tracking for running and chase sequences. 85mm portrait lens for emotional close-ups. Fast, sharp editing with continuous action geography. Bright natural school daylight, slightly cool neutral color grading. Realistic skin texture, visible pores, natural facial imperfections. Realistic motion blur, weight, gravity, inertia, and physical contact. Natural handheld camera shake without excessive instability. Convincing stunt choreography with clear cause-and-effect movements. SOUND DESIGN No background music, no voiceover, no narration. Only natural production audio: rapid footsteps, shoes squeaking against the polished floor, heavy breathing, distant male shouting, fabric rustling, wooden stick swinging through the air, body impacts, and natural corridor reverberation. Use natural Korean dialogue where indicated. STRICT CONSISTENCY RULES Maintain the same female lead and male lead throughout. Never change their faces, hairstyles, clothing, or proportions. Maintain one consistent Korean school corridor with the windows on the same side and classroom doors on the opposite side. Every kick, dodge, stumble, and fall must follow realistic human biomechanics. Avoid floating bodies, unrealistic flips, teleporting characters, duplicated attackers, disappearing props, broken anatomy, inconsistent spatial positions, and artificial-looking CGI movements. No supernatural abilities, glowing effects, stylized animation, exaggerated wirework, or fantasy elements. FINAL RESULT: A fast-paced, believable, live-action Korean school action sequence featuring a sudden escape, intense hallway pursuit, aggressive close-quarters combat, a dramatic encounter with a male student, and a tense final close-up. #DomoAI #DomoAICPP

Sharon Riley

20,041 views • 6 days ago

Couple goals can't get better than this Seedance 2.5 Prompt 👇 Use the uploaded reference image as the exact character reference. Preserve her facial identity, hairstyle, eye color, skin tone, makeup, body proportions, Style: Early-2000s MiniDV home-video aesthetic, photorealistic live-action, shaky handheld camera, slight autofocus hunting, natural exposure shifts, motion blur, imperfect framing, warm afternoon light, authentic everyday atmosphere. A young woman from Korea wearing a fitted crop pink pastel tshirt spends a casual afternoon with her boyfriend in a quiet neighborhood. She films herself walking down the street, smiling at the camera while her boyfriend walks beside her. They stop at a small street-food stall, share a snack, laugh together, and continue walking. She playfully steals his sunglasses and puts them on, making him laugh. They sit together on a low wall, talk and tease each other, then walk through a small park while she records little moments on the handheld camera. As the sun begins to set, they stop under a streetlight. She turns the camera toward him, they exchange a warm smile, move closer, and share a brief natural kiss on the lips. The camera stays handheld and slightly imperfect as they laugh afterward and walk away together. Audio: Natural street ambience, footsteps, distant traffic, birds, casual conversation and laughter. No music. Negative prompt: No subtitles, text, logos, watermarks, identity changes, outfit changes, duplicate people, distorted hands, unnatural movements, or AI artifacts.

Synthia

13,295 views • 1 month ago

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

28,464 views • 2 months ago

Before the city wakes up. ✨ Made with Seedance 2.5 on Higgsfield Prompt: Create a ultra-realistic lifestyle vlog following the same young Korean woman, age 24, from nighttime at home through waking up, getting ready, going to the gym, working out, and having breakfast. CHARACTER: Korean woman, 26, naturally attractive, realistic skin texture, soft natural facial features, minimal makeup, long dark black hair, slim natural proportions and realistic feminine physique. Maintain the exact same facial identity, facial features, body proportions, hair color and overall appearance throughout the entire video. NIGHT OUTFIT: At the beginning, she wears a delicate black-and-white sheer lace nightdress with thin shoulder straps, fitted bodice, translucent mesh fabric, scattered small black heart patterns, black lace trim around the neckline and edges, fitted waist and softly flared short skirt. Elegant and natural, not provocative. GYM OUTFIT: After waking up, she changes into a fitted white sleeveless athletic crop top with wide shoulder straps and a simple scoop neckline, loose light-gray high-waisted sweatpants with an elastic waistband and white drawstring, and simple white athletic sneakers. Her long dark hair is tied into a high ponytail. Keep the gym outfit consistent for the rest of the workout. 00:00–00:07 — NIGHT: Small cozy Seoul apartment bedroom at night. She sits sleepily on the edge of her bed wearing the black-and-white heart-pattern lace nightdress. Warm bedside lamp, dark room, faint cool blue light through a rain-covered window. She checks her phone, yawns, places it beside the bed, gets under the blanket and turns off the lamp. Rain continues outside. 00:07–00:14 — WAKE UP: Early rainy morning. Cold blue-gray daylight enters through the window. She wakes naturally, still wearing the same nightdress. She rubs her eyes, checks her phone, looks toward the rainy window, stretches slightly and gets out of bed. Her long hair is naturally messy from sleeping. 00:14–00:22 — GETTING READY: She walks to the bathroom, washes her face, brushes her teeth and looks sleepily into the mirror. She casually fixes her hair. She returns to the bedroom and changes into the white athletic crop top, loose light-gray sweatpants and white sneakers. Her hair is now tied into a neat high ponytail. Show the clothing change only as a natural transition: she leaves the frame in her nightdress and returns dressed for the gym. No nudity. 00:22–00:29 — LEAVING: She stands in the apartment entryway wearing her gym outfit. She checks herself briefly in a simple mirror, puts her phone and water bottle into a gym bag, grabs a black umbrella and leaves the apartment. The camera follows casually behind her. 00:29–00:36 — RAINY SEOUL: She walks through a quiet Seoul residential neighborhood under the black umbrella. Wet pavement, apartment buildings, parked cars, utility poles and small storefronts in the background. Her ponytail and loose sweatpants move naturally as she walks. She briefly turns toward the camera, notices she is being filmed and gives a small sleepy smile. 00:36–00:49 — GYM: She enters a clean modern neighborhood gym. She puts away her umbrella and gym bag. She begins with a light treadmill warm-up, then does stretching, dumbbell exercises and a simple resistance-machine exercise. Show realistic physical effort and natural breathing. Her ponytail moves naturally during exercise. She drinks water between sets. At one point she notices the camera filming her and gives a tiny amused smile before continuing. No exaggerated posing, no unrealistic weights, no fitness-model performance. 00:49–00:54 — FINISH: She finishes her workout, stretches her shoulders, wipes her forehead with a small towel and puts on a loose dark zip-up hoodie over her gym outfit. She grabs her gym bag and umbrella and heads toward the exit. She looks toward the camera with a tired but satisfied little smile. 00:54–01:00 — BREAKFAST: Small cozy Korean café near the gym. Rain continues outside the window. She sits at a small wooden table wearing the white athletic top, light-gray sweatpants and dark hoodie. A simple breakfast is on the table: eggs, toast, fresh fruit and a warm coffee or tea. She quietly eats while looking through the rainy window. At the end she notices the camera, looks directly into the lens, gives a tiny sleepy smile and takes one final sip. The camera naturally drifts toward the rainy window. End with rain visible and audible. CAMERA STYLE: Ultra-realistic early-2000s Sony MiniDV home-video footage filmed by another person. Authentic 4:3 consumer MiniDV appearance. Completely candid and unstaged. Natural handheld camera movement, subtle camera shake, imperfect framing, occasional gentle reframing, occasional autofocus hunting, mild exposure shifts, faded colors, soft contrast, authentic DV compression, subtle low-light digital noise and built-in camcorder microphone noise. The camera should feel like a real person holding an old consumer camcorder, not a modern phone or cinematic camera. No gimbal, no stabilization, no drone shots, no cinematic tracking shots, no perfect compositions, no modern influencer aesthetic, no beauty filter, no excessive skin smoothing and no modern cinematic color grading. MOTION: All movement must be smooth, continuous and physically realistic in real time. No stuttering, judder, frame skipping, duplicated frames, stop-motion appearance, artificial slow motion, speed ramps, excessive motion blur or low-frame-rate appearance. The vintage look must come from the MiniDV image characteristics, autofocus, exposure, colors, compression and handheld operation, NOT from choppy motion. Maintain consistent identity, anatomy, hair and clothing throughout. Realistic hair, fabric, umbrella and object physics. AUDIO: Natural location sound only: rain against the window, phone alarm, blanket movement, footsteps, bathroom water, clothing movement, apartment ambience, umbrella sounds, wet footsteps, distant Seoul traffic, gym equipment, treadmill motor, weights, natural breathing, water bottle, café dishes and rain against the café window. No background music, no narration, no voice-over and no artificial sound effects. OVERALL FEEL: A genuine nostalgic 60-second everyday morning vlog: sleepy night → waking up → getting ready → rainy Seoul commute → gym workout → simple breakfast. Intimate, cozy, realistic, understated and spontaneous, like a real old MiniDV recording rather than a polished commercial or modern influencer video.

Ray

699,057 views • 27 days ago

Made this video with GPT IMAGE 2 + seedance 2.5 via CapCut Prompt ⤵️ DURATION: 20 seconds ASPECT RATIO: 16:9 STYLE: Ultra-photorealistic live-action cinematic lifestyle vlog, premium commercial quality, natural human movement, realistic skin and hair, realistic clothing physics, soft cinematic lighting, subtle handheld camera feel, shallow depth of field, natural color grading. REFERENCE ASSIGNMENT: irene galbraith = FEMALE HERO / MAIN CHARACTER ĐI MДGĐ = BEDROOM / MORNING imogen = KITCHEN / BREAKFAST CurlyQ2 = WORK / DESK silvercoupe = OUTDOOR / CAFÉ @IMG6 = EVENING / NIGHT Use irene galbraith as the strict identity reference throughout the entire video. CHARACTER CONSISTENCY: The same woman must appear in every scene. Preserve her exact face, facial structure, eyes, nose, lips, hairstyle, skin tone, feminine body proportions and overall identity. Do not change her identity between scenes. 0–3 SECONDS — MORNING Start in the bedroom using ĐI MДGĐ. The woman wakes up naturally and sits on the edge of the bed. Soft morning sunlight enters through the window. She gently opens the curtains and looks toward the morning light. Camera begins with a medium-wide shot and smoothly pushes toward her. Peaceful morning atmosphere. 3–6 SECONDS — BREAKFAST Smooth cinematic transition to imogen. The same woman prepares a simple breakfast in the kitchen. She pours coffee or tea into a ceramic mug and places breakfast on the counter. Natural steam rises from the hot drink. She briefly looks toward the camera with a relaxed morning smile. Use a natural medium tracking shot. 6–10 SECONDS — WORK Transition to CurlyQ2. The same woman sits at her desk and works on her laptop. She types briefly, checks the screen and writes a few notes in her notebook. Natural productive expression. Camera moves slowly from a side angle toward a three-quarter view. Keep the environment realistic and calm. 10–14 SECONDS — OUTDOOR / CAFÉ Transition naturally to silvercoupe. The same woman leaves home and walks through a beautiful modern city street toward an outdoor café. Camera smoothly tracks backward while she walks toward it. She arrives at the café, places her handbag beside the table and sits down. She smiles naturally toward the camera. Warm daylight and realistic city background. 14–17 SECONDS — CAFÉ MOMENT Close cinematic shot. She picks up her coffee/drink and takes a relaxed sip. Subtle background movement from distant pedestrians. Natural handheld lifestyle-vlog feeling. 17–20 SECONDS — NIGHT Transition to @IMG6. The same woman is back home in her cozy bedroom at night. She places her phone on the bedside table and relaxes after the day. She looks toward the window at the city lights, then turns toward the camera with a small peaceful smile. Camera slowly pushes into a close-up. End on her calm expression with warm bedroom lighting and soft city-light bokeh. CUT TO BLACK. CAMERA PRIORITY: Keep the camera cinematic and natural. Use smooth tracking, gentle push-ins, medium shots, close-ups and subtle handheld movement. Avoid excessive camera shake. Keep the woman as the visual focus. Maintain realistic transitions between locations. FINAL RULES: Same female character throughout. Same face and identity throughout. Natural realistic human movement. Realistic lighting and shadows. Realistic clothing and hair movement. No face changes. No character duplication. No extra main characters. No cartoon or anime appearance. No fantasy effects. No excessive motion blur. No distorted hands. No text. No logos. No watermark. The overall feeling should be: A beautiful, realistic cinematic glimpse into one ordinary but aesthetically pleasing day in her life. Reference Image: Create a premium photorealistic female character reference sheet using the uploaded woman as the STRICT identity reference. Preserve her exact facial identity, facial structure, eyes, eyebrows, nose, lips, jawline, skin tone, natural skin texture, hairstyle and overall appearance. Create the same woman as a realistic modern lifestyle vlogger. Show her with natural feminine proportions and realistic anatomy. CHARACTER PRESENTATION: Create a clean professional character sheet containing: 1. Full-body front view 2. Full-body 3/4 view 3. Full-body side view 4. Back view 5. Close-up face portrait 6. Natural smiling expression 7. Neutral expression 8. Casual standing pose Keep the exact same woman in every view. CLOTHING: Use a simple modern casual lifestyle outfit suitable for a daily vlog: a clean neutral-colored fitted top, comfortable casual trousers or jeans, and simple everyday footwear. Keep the outfit realistic, modest and natural. STYLE: Ultra-photorealistic live-action photography, premium lifestyle commercial aesthetic, realistic skin texture, natural hair strands, realistic fabric, physically accurate anatomy, soft cinematic lighting, subtle depth of field, high-end photography, natural colors. The character should look like a real woman photographed for a professional lifestyle vlog. IDENTITY CONSISTENCY IS THE HIGHEST PRIORITY. Do not change her face. Do not change her hairstyle. Do not masculinize her. Do not make her look like a different person. Do not create an anime or cartoon appearance. No fantasy styling. No text. No logo. No watermark. Clean neutral studio background. This character reference will be used as the SAME FEMALE PROTAGONIST throughout a 20-second "A Day in Her Life" cinematic lifestyle vlog.

Elsa Ai

27,957 views • 1 month ago

Created this video using Gemini Omni Flash on Fotor Try here: prompt: Cinematic summer beverage commercial for FIZZI Sparkling Tonic — Grapefruit, high-end style in a warm golden-hour color grade with teal-turquoise pool contrast and coral-pink accents, mixing lifestyle wide shots with hyper-detailed macro product close-ups, slow-motion moments, fun youthful carefree energy, upbeat tropical pop and sound design of can hiss, carbonation fizz, pool splashes and laughter. The product is a tall slim coral-pink aluminum can with condensation droplets — bold retro-rounded lowercase magenta "fizzi" at the top, "sparkling tonic" below, a 4x4 pop-art grid of illustrated grapefruit circles in pink, coral, hot pink and pale yellow, with "0% Alcohol" and "GRAPEFRUIT" at the bottom. At golden hour on a stylish rooftop pool, a young woman in a coral-pink swimsuit sits at the pool edge with her feet in turquoise water, lifting an ice-cold FIZZI can to her lips and closing her eyes in pleasure, friends mingling and string lights twinkling in a dreamy soft-focus blur behind her, condensation catching the golden light. A slightly wider shot shows her floating on a clear inflatable beside a friend in a pale yellow swimsuit, both laughing as they clink their coral-pink cans with a small splash, shot at water level with sparkling reflections dancing across the frame. An extreme macro slowly pans across the coral-pink can surface in hyper-detail — beads of condensation catching prismatic light, the glistening magenta "fizzi" logo filling the frame, then down to the crisp pop-art grapefruit grid with shimmering turquoise bokeh behind. Another dreamy slow-motion macro shows tiny carbonation bubbles racing up through pale-pink sparkling liquid in a glass with a glowing grapefruit slice floating, the can softly out of focus behind, with ASMR fizzing crackle. Finally the camera pulls back to a wide golden-hour shot of the full party — both women floating with cans, friends dancing and lounging on coral towels, grabbing FIZZI from an ice bucket of grapefruit halves — then slowly pushes in as they raise their cans toward camera and clean white text fades in: "Grab an ice cold fizzi," with "© 2026 FIZZI Beverages Co." below, holding then fading out.

Sharon Riley

44,826 views • 2 months ago

Rainy streets, cozy vibes, and a little Korean city adventure. Just a simple day turned into a cinematic vlog full of calm moments and beautiful rainy views. Created on seedance 2.5. Prompt: A beautiful Korean girl in a realistic cinematic lifestyle vlog, starting inside a cozy modern apartment on a rainy day, sitting quietly on a sofa near a large window overlooking a dense Korean cityscape covered in mist and rain, then getting ready in front of a bathroom mirror, tying her hair and preparing to go outside. She puts on a fitted dark outfit, grabs her black umbrella and bag, walks out of the apartment into the rainy street, and continues walking through a busy Korean neighborhood with wet roads, passing cars, glowing Korean shop signs, convenience stores and warm street lights. The camera follows her naturally from behind and from different handheld angles as she crosses the street in heavy rain, with realistic reflections on the wet asphalt, soft overcast daylight, natural city ambience, and subtle handheld camera movement. Near the end, she arrives at a small cozy Korean food shop, smiles naturally toward the camera while holding her umbrella, creating an intimate everyday-vlog feeling. Photorealistic Korean urban environment, authentic facial expressions, realistic skin and hair texture, natural body movement, cinematic depth of field, rainy atmosphere, soft filmic color grading, detailed reflections, realistic lighting, documentary-style handheld camera, no artificial beauty filter, no exaggerated movements, highly natural and immersive visual quality, 9:16 vertical video.

liana

18,685 views • 10 days ago

🚨WOW!!! A college student is being praised as a HERO after she saw 3 little girls drowning in Lake Washington, jumped in, and saved ALL THREE GIRLS. The last one was UNCONSCIOUS, underwater, tangled in a rope, only her hair was still floating. All 3 SURVIVED!!!! ❤️ Her name is Lillie Vehling. She is an engineering student at UC Davis and an attacker on the women's water polo team. She was in Seattle for a summer internship and went to Seafair for the very first time, sitting at Genesee Park waiting on the Blue Angels with a book in her hands. Then she scanned the water. Three girls were out past the buoy line, bobbing, screaming, going under. She is a certified lifeguard who started her own swim lesson program, so she knew exactly what she was looking at. One of the girls was pushing the other two under just to get a breath. That is when she went in. She grabbed that girl first, to stop her from taking the other two down with her. Got her to shallow water. Went back for the second one. Then she went back a third time. By then the third girl was already gone under. Lillie: "I just saw her black hair in the water barely floating." The child was unconscious AND tangled in the rope of a buoy she had been clawing at to save her own life. Lillie got an arm under her, lifted her head out of the water, and hauled her to shore. The little girl coughed up the lake and came back. Seattle Fire paramedics met them on the beach. One girl went to Seattle Children's Hospital in stable condition. All three lived. Seafair's president found her that same day. Her first question was whether Lillie was okay. Her second was whether she could give her a hug. That night they brought her to the gala and knighted her "Lady Guardian of Lake Washington." Admirals lined up to meet her. And Lillie? She is chasing a career in the nuclear Navy. Seafair's president says she hopes the next time Lillie comes back to that lake, it is in a Blue Angels cockpit. "To save three people, I didn't think twice about myself." GOD BLESS Lillie Vehling, and GOD BLESS the firefighter who raised her. THIS IS THE AMERICA I KNOW!!! 🇺🇸🇺🇸🇺🇸

Matt Van Swol

1,173,561 views • 2 months ago