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We generated this scene with just one trial on Seedance Enterprise 2.5. We had run this same shot on other models and it took us around 8 attempts before anything came back usable. Generations are billed one at a time so 8 tries to 1 is the entire cost...

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Future Stacked

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85,011 görüntüleme • 3 gün önce •via X (Twitter)

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For “The Final Callback,” I used Seedream 5.0 Pro via Lumina to shape the theatre and characters, SeedAudio for the dialogue and emotional soundscape, and Seedance Enterprise 2.5 to bring the full 30-second cinematic drama to life. The biggest surprise during my test wasn't just the cinematic quality—it was how much less trial-and-error the workflow required. For emotional scenes like these, I would normally regenerate multiple versions before getting a usable performance. With Seedance 2.5, I was able to achieve production-ready results in around 1-2 attempts, which significantly reduced generation costs while saving a lot of production time. That efficiency let me spend more time refining the story instead of constantly rerolling shots. The realism is what really completes the experience: Maya's restrained performance, natural dialogue delivery, subtle pauses, realistic character movement, and smooth cinematic camera motion make the scene feel much closer to a real film than an AI-generated clip. Seedance 2.5 API is about to launch on BytePlus, and now you can try it directly on Lumina.
0:25

For “The Final Callback,” I used Seedream 5.0 Pro via Lumina to shape the theatre and characters, SeedAudio for the dialogue and emotional soundscape, and Seedance Enterprise 2.5 to bring the full 30-second cinematic drama to life. The biggest surprise during my test wasn't just the cinematic quality—it was how much less trial-and-error the workflow required. For emotional scenes like these, I would normally regenerate multiple versions before getting a usable performance. With Seedance 2.5, I was able to achieve production-ready results in around 1-2 attempts, which significantly reduced generation costs while saving a lot of production time. That efficiency let me spend more time refining the story instead of constantly rerolling shots. The realism is what really completes the experience: Maya's restrained performance, natural dialogue delivery, subtle pauses, realistic character movement, and smooth cinematic camera motion make the scene feel much closer to a real film than an AI-generated clip. Seedance 2.5 API is about to launch on BytePlus, and now you can try it directly on Lumina.

Marry claire

25,293 görüntüleme • 3 gün önce

Seedance 2.5 isn’t just an update—it’s the end of the “reroll era.” We’ve gone from burning credits on N attempts to landing usable shots in 1-2 tries. That’s not just efficiency; it’s a fundamental shift from gambling on pixels to directing physics. It clears three new thresholds: Realism: No more “AI sheen.” It’s just real. Cinematography: Lighting & movement now carry a pro photographer’s intent. Narrative: Localized editing turns clips into directed scenes. I’ve been building end-to-end pipelines on BytePlus Lumina, weaving Seedance Enterprise motion with Seedream keyframes & Seedaudio soundscapes. Seedance 2.5 API is about to launch on BytePlus, and now you can try it directly on Lumina.
0:24

Seedance 2.5 isn’t just an update—it’s the end of the “reroll era.” We’ve gone from burning credits on N attempts to landing usable shots in 1-2 tries. That’s not just efficiency; it’s a fundamental shift from gambling on pixels to directing physics. It clears three new thresholds: Realism: No more “AI sheen.” It’s just real. Cinematography: Lighting & movement now carry a pro photographer’s intent. Narrative: Localized editing turns clips into directed scenes. I’ve been building end-to-end pipelines on BytePlus Lumina, weaving Seedance Enterprise motion with Seedream keyframes & Seedaudio soundscapes. Seedance 2.5 API is about to launch on BytePlus, and now you can try it directly on Lumina.

SARAH

127,832 görüntüleme • 3 gün önce

Seedance 2.5 is coming to If you've ever stitched 5 clips together praying they'd match — this is for you. Native 30s in a single pass in crisp 4K, with audio generated directly alongside the video — not slapped on after. Up to 50 references to ensure your character and style hold across the entire shot. One take. No duct tape. 🙌
0:45

Seedance 2.5 is coming to If you've ever stitched 5 clips together praying they'd match — this is for you. Native 30s in a single pass in crisp 4K, with audio generated directly alongside the video — not slapped on after. Up to 50 references to ensure your character and style hold across the entire shot. One take. No duct tape. 🙌

Medeo_AI

549,901 görüntüleme • 9 gün önce

This might be the best synthetic performance I have got from a video model. We can generate 30-second shots and create near seamless extensions (with a bit of post blending) for far longer sequences, powered by Seedance Enterprise 2.5. I set out to test this out by making the scene below all-in-one shot. I wrote the script, built the character references in Seedream and then broke the script down to two 30 second prompts. The prompts were really detailed with pauses, gestures and emotional shifts and the model delivered on all of them. I was really impressed with the performance and voices which were generated in the model. Previously, AI film scenes had to be composed of short cuts, now we have options on pacing, and nuance... we can let our scenes breathe. All this done with only around 3 rolls per take, we have left the slot machine age of AI video Gen behind and are now in the age of control. Next for me will be testing real actors performance as a reference to drive the generation. Seedance 2.5 API is about to launch on BytePlus , and Lumina will also roll out Seedance 2.5 soon.
0:59

This might be the best synthetic performance I have got from a video model. We can generate 30-second shots and create near seamless extensions (with a bit of post blending) for far longer sequences, powered by Seedance Enterprise 2.5. I set out to test this out by making the scene below all-in-one shot. I wrote the script, built the character references in Seedream and then broke the script down to two 30 second prompts. The prompts were really detailed with pauses, gestures and emotional shifts and the model delivered on all of them. I was really impressed with the performance and voices which were generated in the model. Previously, AI film scenes had to be composed of short cuts, now we have options on pacing, and nuance... we can let our scenes breathe. All this done with only around 3 rolls per take, we have left the slot machine age of AI video Gen behind and are now in the age of control. Next for me will be testing real actors performance as a reference to drive the generation. Seedance 2.5 API is about to launch on BytePlus , and Lumina will also roll out Seedance 2.5 soon.

Uncanny Harry AI

60,013 görüntüleme • 4 gün önce

"One continuous static shot, no cuts. A person looks directly at the camera and counts from one to ten, holding up the corresponding number of fingers as they say each number." Seedance 2.0 vs. Seedance 2.5
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"One continuous static shot, no cuts. A person looks directly at the camera and counts from one to ten, holding up the corresponding number of fingers as they say each number." Seedance 2.0 vs. Seedance 2.5

Patrick

76,079 görüntüleme • 8 gün önce

This F1 footage was not filmed. Seedance 2.0 generated it in native 4K, carbon fiber textures and all. The whole thing was built to test what native 4K AI video can actually do under motorsport conditions. Wheel to wheel battles, the launch off the grid, the bullet time overtake, sparks flying off the floor at 300 km/h. The kind of footage that usually needs a broadcast crew and a serious budget. The result lands closer to a championship race feed than anything that reads as AI generated. Enterprises and developers can access Seedance 2.0 through the BytePlus API, or run it directly on BytePlus Lumina at Which moment hit hardest, the silence before launch, the grid release, the bullet time overtake, or the finish? BytePlus Lumina #BytePlus #BytePlusLumina
0:25

This F1 footage was not filmed. Seedance 2.0 generated it in native 4K, carbon fiber textures and all. The whole thing was built to test what native 4K AI video can actually do under motorsport conditions. Wheel to wheel battles, the launch off the grid, the bullet time overtake, sparks flying off the floor at 300 km/h. The kind of footage that usually needs a broadcast crew and a serious budget. The result lands closer to a championship race feed than anything that reads as AI generated. Enterprises and developers can access Seedance 2.0 through the BytePlus API, or run it directly on BytePlus Lumina at Which moment hit hardest, the silence before launch, the grid release, the bullet time overtake, or the finish? BytePlus Lumina #BytePlus #BytePlusLumina

The AI Colony

18,250 görüntüleme • 1 ay önce

Most AI video tools still expect you to solve everything with prompts. I was truly blown away when I tried it. Powered by BytePlus, Seedance Enterprise 2.5 moves past this restrictive workflow. Creators may import up to 50 multi‑modal references of pictures, footage and audio, and I’m amazed by its capability to sustain uniform characters, scenes, product details and visual aesthetics for the whole project. This tool delivers natural, non‑artificial footage in just 1‑2 tries. Fewer rerolls mean lower costs and way‑faster workflow. I've tried plenty of AI video models, most give you one good clip out of ten. But Seedance 2.5 produces believable visuals with minimal re‑rolls, I achieved a satisfactory result on the second attempt. This has significantly improved efficiency and reduced costs. Seedance 2.5 Official API is now live on BytePlus, and you can try it directly on Lumina.
0:26

Most AI video tools still expect you to solve everything with prompts. I was truly blown away when I tried it. Powered by BytePlus, Seedance Enterprise 2.5 moves past this restrictive workflow. Creators may import up to 50 multi‑modal references of pictures, footage and audio, and I’m amazed by its capability to sustain uniform characters, scenes, product details and visual aesthetics for the whole project. This tool delivers natural, non‑artificial footage in just 1‑2 tries. Fewer rerolls mean lower costs and way‑faster workflow. I've tried plenty of AI video models, most give you one good clip out of ten. But Seedance 2.5 produces believable visuals with minimal re‑rolls, I achieved a satisfactory result on the second attempt. This has significantly improved efficiency and reduced costs. Seedance 2.5 Official API is now live on BytePlus, and you can try it directly on Lumina.

LX™

63,374 görüntüleme • 1 gün önce

With Seedance 2.5 now live globally, CapCut PC connects generation and finishing in a workflow designed to reduce the hidden costs of rerolls, stitching, and repeated edits. Most viral ad recreations fail for a simple reason: They copy the visual motif, not the system behind it. A usable campaign needs the product, motion, camera language, and timing to remain coherent. That is the production problem Seedance 2.5 in CapCut PC is built to solve.
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With Seedance 2.5 now live globally, CapCut PC connects generation and finishing in a workflow designed to reduce the hidden costs of rerolls, stitching, and repeated edits. Most viral ad recreations fail for a simple reason: They copy the visual motif, not the system behind it. A usable campaign needs the product, motion, camera language, and timing to remain coherent. That is the production problem Seedance 2.5 in CapCut PC is built to solve.

Ace

82,122 görüntüleme • 2 gün önce

Today we're rolling out Dreamina Seedance 2.5 in the U.S., and it's now available worldwide on CapCut. The full model: 30 seconds from a single generation, up to 50 references, and precise edits to any part of a shot. Available across App, Web, and Desktop. What will you create? Try it now. RT+Comment in 4hr to get extra 1000 credit in your DM!
0:27

Today we're rolling out Dreamina Seedance 2.5 in the U.S., and it's now available worldwide on CapCut. The full model: 30 seconds from a single generation, up to 50 references, and precise edits to any part of a shot. Available across App, Web, and Desktop. What will you create? Try it now. RT+Comment in 4hr to get extra 1000 credit in your DM!

CapCut

1,552,949 görüntüleme • 2 gün önce

Most marketing teams don’t need another AI tool that can generate one impressive video. They need one workflow that can turn a single campaign brief into dozens of consistent versions — different languages, subtitles, lip-sync, product details, and market-specific edits. Dreamina has live the world-first global launch of Dreamina Seedance 2.5. Early access is live on Dreamina, while US availability is expected roughly one week later. With up to 50 multimodal references, 30-second single-generation video, and support for 10+ languages, Seedance 2.5 gives campaigns more context before localization even begins. And with the lowest-cost access to the full Seedance family, Dreamina is currently the most cost-effective place to run the entire workflow.
0:21

Most marketing teams don’t need another AI tool that can generate one impressive video. They need one workflow that can turn a single campaign brief into dozens of consistent versions — different languages, subtitles, lip-sync, product details, and market-specific edits. Dreamina has live the world-first global launch of Dreamina Seedance 2.5. Early access is live on Dreamina, while US availability is expected roughly one week later. With up to 50 multimodal references, 30-second single-generation video, and support for 10+ languages, Seedance 2.5 gives campaigns more context before localization even begins. And with the lowest-cost access to the full Seedance family, Dreamina is currently the most cost-effective place to run the entire workflow.

Rishabh

45,483 görüntüleme • 8 gün önce

Get any camera move you want, using just your phone. Frame the shot, hit record, and move your camera exactly how you want it - a simple pan, a push-in and swirl, whatever. Load that clip into Agent One and tell it what you want in the shot. Your recorded video drives the camera move, Agent One runs it through Seedance, and you sit back and watch. Pro tip - match your phone frame to your first generated frame. The closer it lines up, the better it lands. Watch the video to see exactly how we did it.
0:49

Get any camera move you want, using just your phone. Frame the shot, hit record, and move your camera exactly how you want it - a simple pan, a push-in and swirl, whatever. Load that clip into Agent One and tell it what you want in the shot. Your recorded video drives the camera move, Agent One runs it through Seedance, and you sit back and watch. Pro tip - match your phone frame to your first generated frame. The closer it lines up, the better it lands. Watch the video to see exactly how we did it.

Invideo

30,624 görüntüleme • 1 ay önce

7 days of unlimited Seedance 2.5 on Higgsfield. The most realistic and production-ready video model. Now we offer generations at ZERO credit cost for 7 DAYS. Up to 50 references, 30 seconds of perfect continuity, realism in physics, advanced VFX/SFX, and SOTA video-to-video editing. 7-day unlimited access starts on August 7.
0:52

7 days of unlimited Seedance 2.5 on Higgsfield. The most realistic and production-ready video model. Now we offer generations at ZERO credit cost for 7 DAYS. Up to 50 references, 30 seconds of perfect continuity, realism in physics, advanced VFX/SFX, and SOTA video-to-video editing. 7-day unlimited access starts on August 7.

Higgsfield AI 🧩

556,612 görüntüleme • 3 gün önce

I gave an AI video workflow a real creative brief—not one prompt, but a character, product references, camera beats, a 3D layout and multiple versions. Seedance 2.5 launches globally first on Dreamina. It’s from the same parent company as TikTok, and Dreamina is built to be the most optimized, cost-effective place to run it.
0:33

I gave an AI video workflow a real creative brief—not one prompt, but a character, product references, camera beats, a 3D layout and multiple versions. Seedance 2.5 launches globally first on Dreamina. It’s from the same parent company as TikTok, and Dreamina is built to be the most optimized, cost-effective place to run it.

Parul Gautam

47,544 görüntüleme • 6 gün önce

3 minute AI videos from a single prompt 😳🔥 Try it out now on Dreamina: Seedance 2.5 is live globally first on Dreamina, meaning one prompt can now carry an entire ad from opening hook to final logo without stitching clips together. Dreamina has rolled out dedicated product upgrades built around it, making it the most optimised and cost effective place to run Seedance 2.5. Huge for advertisers, marketers, and creators producing campaign work at speed. Our mission is to create 100,000 new jobs for creatives, looking to learn and stay ahead in AI? Join GenHQ: #dreamina #dreaminapartner #seedance #dreaminaseedance25 #CreativeAI
0:45

3 minute AI videos from a single prompt 😳🔥 Try it out now on Dreamina: Seedance 2.5 is live globally first on Dreamina, meaning one prompt can now carry an entire ad from opening hook to final logo without stitching clips together. Dreamina has rolled out dedicated product upgrades built around it, making it the most optimised and cost effective place to run Seedance 2.5. Huge for advertisers, marketers, and creators producing campaign work at speed. Our mission is to create 100,000 new jobs for creatives, looking to learn and stay ahead in AI? Join GenHQ: #dreamina #dreaminapartner #seedance #dreaminaseedance25 #CreativeAI

Rourke Heath

11,112 görüntüleme • 3 gün önce

Christopher Nolan says there are only six lightweight IMAX cameras in the world and he has destroyed more than one “There are two new ones for this film. So now there are six of the lightweight ones around the world. There’s enough for multiple productions” Tom Holland: “Do you think there are cameras that you used on The Dark Knight that we used on this movie? These hidden characters that have gone through your career” Nolan: “They’re all old friends. Every now and again, we would destroy an IMAX camera, and it would be very heartbreaking. But I’ve always managed to build it back together” “On The Dark Knight, we crushed one between a truck and a car. It was on a crane arm. There wasn’t a camera operator. We smashed it, but they actually managed to fix it and save the film” “Then on Dunkirk, we strapped one to the side of a crashing Spitfire, housed in an underwater housing. The Spitfire landed, but then the thing sank immediately, which no one was expecting” “It took a couple of hours to get the camera out. By then, it was completely waterlogged. We called the lab in LA and said, ‘Is there anything you could do with the film?’” “They said, ‘Fill the film cans with water, keep them sealed and send them to us in water.’ They put it through the bath, processed it, and the shot is in the film” “Try doing that with a digital camera”
1:27

Christopher Nolan says there are only six lightweight IMAX cameras in the world and he has destroyed more than one “There are two new ones for this film. So now there are six of the lightweight ones around the world. There’s enough for multiple productions” Tom Holland: “Do you think there are cameras that you used on The Dark Knight that we used on this movie? These hidden characters that have gone through your career” Nolan: “They’re all old friends. Every now and again, we would destroy an IMAX camera, and it would be very heartbreaking. But I’ve always managed to build it back together” “On The Dark Knight, we crushed one between a truck and a car. It was on a crane arm. There wasn’t a camera operator. We smashed it, but they actually managed to fix it and save the film” “Then on Dunkirk, we strapped one to the side of a crashing Spitfire, housed in an underwater housing. The Spitfire landed, but then the thing sank immediately, which no one was expecting” “It took a couple of hours to get the camera out. By then, it was completely waterlogged. We called the lab in LA and said, ‘Is there anything you could do with the film?’” “They said, ‘Fill the film cans with water, keep them sealed and send them to us in water.’ They put it through the bath, processed it, and the shot is in the film” “Try doing that with a digital camera”

Casper

3,240,005 görüntüleme • 20 gün önce

i built an AI agent that can produce AI UGC on autopilot using Seedance 2.5 this model is the best for ultra-realistic videos, clean voices and character consistency... this is all we need to make perfect ads the setup is relatively simple: - Higgsfield Supercomputer for research and scriptwriting - orchestrates Nano Banana Pro for your avatars & products - generate full ads in ONE SHOT using Seedance 2.5 Omni reference watch this video for a 5min breakdown, then read the full course below:
3:42

i built an AI agent that can produce AI UGC on autopilot using Seedance 2.5 this model is the best for ultra-realistic videos, clean voices and character consistency... this is all we need to make perfect ads the setup is relatively simple: - Higgsfield Supercomputer for research and scriptwriting - orchestrates Nano Banana Pro for your avatars & products - generate full ads in ONE SHOT using Seedance 2.5 Omni reference watch this video for a 5min breakdown, then read the full course below:

Machina

22,196 görüntüleme • 2 gün önce

SITUATION EXPLAINED: MiniMax released H3 with open weights, and it's already #1 in video editing. • Priced at $7.80 per minute of 2K video, against Seedance 2.0 at $22.45 and Kling 3.0 at $20.16 • It ranks #1 on Artificial Analysis for video editing, #2 for text-to-video behind Gemini Omni Flash, and #3 for image-to-video • H3 takes text, images, video, and audio in a single context and generates 5-15 second clips at native 2K, 24fps, with native stereo audio • MiniMax is releasing the weights under its Community License within days, which would make it the strongest open-weights video model by a wide margin • It launched the same week ByteDance rolled out Seedance 2.5, which now generates 30-second 4K video from a single prompt • Seedance 2.5's face consistency across a full 30 seconds is the visible jump, earlier models drifted into a different face partway through • Voices are still the obvious tell, the video reads as real long before the audio does • Smaller labs building purpose-built video models are now beating frontier labs at this specific task Theo Jaffee: "This is gonna be one of the biggest examples of things that people are gonna do with these models, historical simulations, basically. Nostalgia videos for zoomers."
7:17

SITUATION EXPLAINED: MiniMax released H3 with open weights, and it's already #1 in video editing. • Priced at $7.80 per minute of 2K video, against Seedance 2.0 at $22.45 and Kling 3.0 at $20.16 • It ranks #1 on Artificial Analysis for video editing, #2 for text-to-video behind Gemini Omni Flash, and #3 for image-to-video • H3 takes text, images, video, and audio in a single context and generates 5-15 second clips at native 2K, 24fps, with native stereo audio • MiniMax is releasing the weights under its Community License within days, which would make it the strongest open-weights video model by a wide margin • It launched the same week ByteDance rolled out Seedance 2.5, which now generates 30-second 4K video from a single prompt • Seedance 2.5's face consistency across a full 30 seconds is the visible jump, earlier models drifted into a different face partway through • Voices are still the obvious tell, the video reads as real long before the audio does • Smaller labs building purpose-built video models are now beating frontier labs at this specific task Theo Jaffee: "This is gonna be one of the biggest examples of things that people are gonna do with these models, historical simulations, basically. Nostalgia videos for zoomers."

MTS

55,187 görüntüleme • 8 gün önce

Alfonso Cuarón on how this continuous shot in "Children of Men" (2006) was clinched in the final attempt & the "Miracle" that occurred while filming: "Interviewer: When Theo runs into a hollowed-out bus in that shot, blood splatters on the camera lens. Can you tell me how that happened? Cuarón: Initially, there was going to be blood splatter on the lens when they ki!!ed Julianne Moore. We were going to add that digitally. But long story short — or long story long — is that for [the refugee camp] shot, we had like 14 days to shoot the whole set piece, except by day 12 we hadn’t rolled cameras yet. As you can guess, by day three that you don’t shoot camera, they send a production guy from the studio to visit you. By the sixth day that you haven’t done it, the creative executive comes to visit you. Well, by the time that you reach the 11th day, the head of the studio is there. That kind of stuff. And the problem is that we had only two shots a day to do the thing. The morning, then you have to reset the explosions, the screams, the whole thing. Five hours to reset. So you only have another shot right before the light goes away. And the problem is that, we could not extend it to the 15th day, because there was already a commitment with the army or something, one of those things. So we are in the 13th day, and in the afternoon, we do our first shot. Then after a minute and a half, it just was wrong. So we had to reset for the next day. The next morning we do the first take, and everything is perfect, and we’re about to reach the end. We were running towards getting inside the building, when [camera operator] George [Richardson] tripped, and so the camera fell. So we only had one more shot for one more before we have to move out. It was the end of my career. Interviewer: Were you panicking at that point? Cuarón: You know, at that point, you’re just focusing. Interviewer: Okay, so you get to the final attempt at the shot. Cuarón: And when we arrived at the bus, the camera goes in, and blood splatters the lens. With my little monitor, I see that I cannot see anything. I yell, “Cut!” But an explosion happens at the same time, so nobody hears me. And that gives me time to think, “Look, I have to roll to the end.” So we kept on going. When we said, “Cut,” Chivo [Emmanuel Lubezki] starts dancing like crazy. And I was like, “No, it didn’t work! There’s blood!” And Chivo turns to me and says, “You stupid! That was a miracle! The blood goes here, not with Julianne Moore!” Yeah, that was supposed to go in the other scene, but it happened here." ("The Vulture Transcript: Alfonso Cuarón on Children of Men", Abraham Josephine Riesman, Vulture, 2017)
3:32

Alfonso Cuarón on how this continuous shot in "Children of Men" (2006) was clinched in the final attempt & the "Miracle" that occurred while filming: "Interviewer: When Theo runs into a hollowed-out bus in that shot, blood splatters on the camera lens. Can you tell me how that happened? Cuarón: Initially, there was going to be blood splatter on the lens when they ki!!ed Julianne Moore. We were going to add that digitally. But long story short — or long story long — is that for [the refugee camp] shot, we had like 14 days to shoot the whole set piece, except by day 12 we hadn’t rolled cameras yet. As you can guess, by day three that you don’t shoot camera, they send a production guy from the studio to visit you. By the sixth day that you haven’t done it, the creative executive comes to visit you. Well, by the time that you reach the 11th day, the head of the studio is there. That kind of stuff. And the problem is that we had only two shots a day to do the thing. The morning, then you have to reset the explosions, the screams, the whole thing. Five hours to reset. So you only have another shot right before the light goes away. And the problem is that, we could not extend it to the 15th day, because there was already a commitment with the army or something, one of those things. So we are in the 13th day, and in the afternoon, we do our first shot. Then after a minute and a half, it just was wrong. So we had to reset for the next day. The next morning we do the first take, and everything is perfect, and we’re about to reach the end. We were running towards getting inside the building, when [camera operator] George [Richardson] tripped, and so the camera fell. So we only had one more shot for one more before we have to move out. It was the end of my career. Interviewer: Were you panicking at that point? Cuarón: You know, at that point, you’re just focusing. Interviewer: Okay, so you get to the final attempt at the shot. Cuarón: And when we arrived at the bus, the camera goes in, and blood splatters the lens. With my little monitor, I see that I cannot see anything. I yell, “Cut!” But an explosion happens at the same time, so nobody hears me. And that gives me time to think, “Look, I have to roll to the end.” So we kept on going. When we said, “Cut,” Chivo [Emmanuel Lubezki] starts dancing like crazy. And I was like, “No, it didn’t work! There’s blood!” And Chivo turns to me and says, “You stupid! That was a miracle! The blood goes here, not with Julianne Moore!” Yeah, that was supposed to go in the other scene, but it happened here." ("The Vulture Transcript: Alfonso Cuarón on Children of Men", Abraham Josephine Riesman, Vulture, 2017)

DepressedBergman

107,518 görüntüleme • 4 ay önce

I Have a Dream is such a special one for us at this time of year and we absolutely loved looking back at the footage taken on the day we shot the music video. Hope you love it! Watch the full behind the scenes video on YouTube: See less
0:41

I Have a Dream is such a special one for us at this time of year and we absolutely loved looking back at the footage taken on the day we shot the music video. Hope you love it! Watch the full behind the scenes video on YouTube: See less

Westlife

10,478 görüntüleme • 7 ay önce

1 AI character clip becomes 50 ads without a single actor or reshoot. 100% generated. The face isn’t real. The pipeline is. Here’s the build, start to finish. Part 1 - Make the character. Generate the face on a node canvas. Lock the identity so it holds across every shot. Part 2 - Drop in the product. One node. The product sits in her hands, on the desk, wherever you point it. Part 3 - Animate. Seedance 2.0 turns the still into a moving clip. Lighting, motion, room - all baked in. Part 4 - The swap nodes. This is the part nobody shows. Build nodes that replace one thing at a time. Character. Outfit. Product. Nothing else moves. Swap the product → new ad. Swap the outfit → new ad. Swap the face → new ad. Same 6 seconds. Same light. Same motion. 50 variants before lunch. Old way: hire talent, film, reshoot for every SKU, edit each cut. New way: 1 canvas, swap 1 node, export. The cost of variant 2 used to be a full shoot. Now it’s a click. Film once. Swap forever.
0:45

1 AI character clip becomes 50 ads without a single actor or reshoot. 100% generated. The face isn’t real. The pipeline is. Here’s the build, start to finish. Part 1 - Make the character. Generate the face on a node canvas. Lock the identity so it holds across every shot. Part 2 - Drop in the product. One node. The product sits in her hands, on the desk, wherever you point it. Part 3 - Animate. Seedance 2.0 turns the still into a moving clip. Lighting, motion, room - all baked in. Part 4 - The swap nodes. This is the part nobody shows. Build nodes that replace one thing at a time. Character. Outfit. Product. Nothing else moves. Swap the product → new ad. Swap the outfit → new ad. Swap the face → new ad. Same 6 seconds. Same light. Same motion. 50 variants before lunch. Old way: hire talent, film, reshoot for every SKU, edit each cut. New way: 1 canvas, swap 1 node, export. The cost of variant 2 used to be a full shoot. Now it’s a click. Film once. Swap forever.

HodlReaper

21,188 görüntüleme • 1 ay önce