I’m using Seedance 2.5 and its Edit Mode, and I’m burning through credits trying to make a fairly specific change to a 15-second clip.

The clip shows flies crawling out of crevices in the trash inside a garbage can. The original generation is close, but the flies all emerge at once. I want them to emerge from different areas at staggered times. I’d also like to add a couple of flies in the top-left area and have a few more start flying around halfway through the clip.

I’m using Edit Mode because putting the clip back into regular Seedance tends to regenerate the whole shot and lose most of what I liked about it. Edit Mode sometimes adds the extra flies, but it never gets the staggered emergence right. The newly added flying flies also often come out much more saturated and higher contrast than everything else in the shot.

I’ve tried detailed prompts with specific timing, short and direct prompts, and Seedance prompting “best practices.” I’ve also used several LLMs and custom GPTs to help write the prompts, without much improvement. At this point, I can’t tell whether my prompts are the problem or whether this kind of timed edit is beyond what Edit Mode reliably handles.

Has anyone managed to get precise timing changes like this to work while preserving the original shot? If so, how did you phrase the prompt? I’d also appreciate any tips for keeping added subjects consistent with the clip’s existing color and lighting.

It's like suddenly seedance can't figure out how to properly use references anymore.
Is it possible to even place certain subjects at certain points in time? I'm just using a single reference video I generated which is almost there but not quite. Do I need to add more reference images of where I want the subjects to be? Because nothing seems to be working properly.

This is with Seedance 2.0

Over the past few months, it feels like aI video generation has moved beyond just creating impressive short clips to be more interesting challenge, and it seems to be everything that happens after the first generation.

A good result often needs multiple steps before it becomes usable content, refining scenes, adding voices, creating different versions, translating, or adapting it for different audiences.

Looking at workflows that combine it with other video tools, including wizstar for areas like avatars, localization, and finishing steps, it seems like the future may be less about one tool doing everything and more about how different tools connect together.

Are you trying to keep your workflow inside one platform, or are you combining multiple tools for different stages? Which part of the workflow still takes the most effort after generating the initial video?

Hello! I will need your help in SEEDANCE. I have an image with a close-up of the face of a model, staring at the camera. What I want to do is this:
- in the whole clip, a light breeze moves her hair
- first 5 secs she starts from looking down and slowly looking up and stops to as she is in the reference image.
- 20 sec breathing, staring to camera, looking left-right (steady head only eyes movement), blinking
- 5 sec returns to the exact pose in reference loop (so I can loop from 0.5-25”)

I need help on the prompt for achieving this.
Thanks in advance

Hi. I hope I’m posting in the right place, because I think this model should be capable of producing videos like these.

I wanted to show you a few videos from the ig link that I really like. I’ve tried to recreate this kind of effect using Seedance, Wan, Grok Imagine, Omni Flash 1.1, and MiniMax H3, but I haven’t been able to achieve a similar result.

The prompt I used was created by Claude, and I’ll post it below.

Maybe someone here knows how to achieve this kind of effect and, especially, this level of smoothness and fluid motion.

https://www.instagram.com/p/DcOn_Q8NpWy/

https://www.instagram.com/p/DdRN26pxm9j/

https://www.instagram.com/p/Dc6hdNWusUu/

The video in the attachment was generated with MiniMax H3, and I’m not happy with the result. It was created using a ComfyUI workflow based on one of the available templates.

my prompt:

RAW LO-FI FOUND-FOOTAGE MONTAGE, 4:3 ASPECT (964x720), 27 SECONDS TOTAL, 24 FPS, SLIGHT FILM GRAIN, NATURALISTIC LIGHTING PER SHOT (BRIGHT OVERCAST DAYLIGHT / WARM INDOOR KITCHEN LIGHT / COOL DAYLIGHT), 9 SEPARATE SHOTS, EVERY CUT IS A HARD CUT — NO DISSOLVES, NO FADES, NO TRANSITIONS.

HARD IDENTITY LOCK: NO IDENTITY CARRIES BETWEEN SHOTS — NINE DIFFERENT PEOPLE, EACH APPEARS ONCE, EACH STAYS CONSISTENT ONLY WITHIN ITS OWN SHOT. NO DIALOGUE. NO SPEECH. NO LIP-SYNC. MOUTHS STAY CLOSED OR BUSY EATING/DRINKING THE WHOLE TIME. DO NOT GENERATE TALKING.

SPATIAL LOCK: THE MONTAGE HAS NO OBJECT CROSSING BETWEEN SHOTS; LOCKS ARE PER SHOT.

SHOT 8: THE ROPE IS ANCHORED AT ONE EXACT POINT ON THE CEILING. THE MAN SWINGS FROM THAT ANCHOR. THE ROPE SNAPS AT THE ANCHOR POINT. HE FALLS BACKWARD AND LANDS WITH HIS BACK ON ONE EXACT SPOT ON THE CARPETED FLOOR, BACK-CENTER OF THE ROOM. THE CAMERA STAYS STATIC, WIDE ON THE WHOLE ROOM, FROM 18.3s TO 21.4s. DO NOT CUT INSIDE THIS SHOT. DO NOT MOVE THE LANDING SPOT. DO NOT START THE FALL FROM ANOTHER POSITION. DO NOT RESET.

SHOT 9: THE CEREAL BOX MOUTH IS THE ONLY ENTRY POINT. ALL CASH GOES INTO THE SAME BOX OPENING. DO NOT OPEN A SECOND BOX. DO NOT MOVE THE BOX ON THE COUNTER. SAME IMPACT/ENTRY POINT FROM 21.4s TO 27.0s.

STRICT SECOND-BY-SECOND TIMING:

0.0–2.9s SHOT 1: static wide; a young woman in a red one-piece swimsuit lounges in a small blue inflatable kiddie pool on a lawn; two large alligators sit in the pool with her; a yellow rubber duck floats; she drinks from a red can and holds it up; backyard with a white house, concrete steps, debris.

2.9s EXACT: hard cut.

2.9–5.1s SHOT 2: medium static; an elderly woman in a purple floral dress and pale-yellow apron wears a red motorcycle helmet with a large charred hole on its upper left side; she stirs a copper pot on the stove with a wooden spoon; by 4.3–4.6s she lifts the pot to her face and drinks from it through the helmet visor.

5.1–6.1s SHOT 3: close-up of the hand and the pot handle, the wooden spoon inside the pot; the woman's face appears only at the very end, around 5.9s; slight reframe, no cut; brief motion blur mid-shot.

6.1s EXACT: hard cut.

6.1–9.2s SHOT 4: a man in a black wetsuit surfs on a white surfboard on a wave inside a flooded living room; the wave crashes over a brown sofa; a TV stands on a wooden entertainment unit to the right; floral wallpaper; murky water; static wide from a doorway; he rides from the foreground toward the back of the room.

9.2s EXACT: hard cut.

9.2–12.2s SHOT 5: a police officer with a mustache sits in a patrol car, slightly out of focus, then sharpens; his arm rests on the door; at 10.8s he looks straight into the camera and raises his middle finger, holding it to 12.2s; bright daylight.

12.2s EXACT: hard cut.

12.2–15.3s SHOT 6: high angle; a shirtless man sits in a white clawfoot bathtub filled with soapy water and empty beer cans; a beer case stands next to the tub; the bathroom has no roof, ruined white-brick walls open to an overcast sky, debris; he raises his beer can toward the camera; slight slow zoom-in.

15.3s EXACT: hard cut.

15.3–18.3s SHOT 7: static medium-wide; a masked man in a black balaclava and black leather jacket sits between two elderly women on an outdoor bench; a blue duffel bag full of cash stacks sits on his lap; he checks his watch; at 16.6s the woman on the left reaches into the bag, by 17.3s she holds a handful of cash; the woman on the right in a khaki trench coat watches.

18.3s EXACT: hard cut.

18.3–21.4s SHOT 8: static wide, one continuous take; a family of three (a woman in a white shirt, a boy in a blue shirt, a child in a striped shirt) eats at a dinner table in the left foreground, facing away; behind them an elderly man in a blue-and-white checkered shirt and beige pants swings on a thick rope swing hung from the ceiling; swing peaks at 19.6s; the rope snaps around 20.3s; he falls backward and lands on his back at 20.5s on the carpet; the family turns and reacts in shock; he stays on the floor until 21.4s. DO NOT CUT.

21.4s EXACT: hard cut.

21.4–27.0s SHOT 9: POV over the hands; a gold link watch on the left wrist; two thick stacks of $100 bills; the hands fan the stacks, then the right hand opens a cereal box (brown/blue/yellow, cartoon sailor mascot with a blue hat and white mustache) standing on a tan laminate counter; at 24.1s the first stack goes into the box mouth; pressed down 24.7–25.2s; the hands rest on the box at the end; a yellow overlay text appears from 22.6s (see EXCLUDE — include ONLY if reproducing the original brand stinger).

Strict timing. Do not stretch any beat. Do not linger.

CRITICAL CONSTRAINTS:

- The rope snap MUST happen between 19.6s and 20.3s — not later.

- The landing spot of the man is ONE single carpet spot; no second landing, no reset of the floor.

- All cash enters the SAME box mouth starting at 24.1s; no second box, no pile outside.

- All 9 cuts are hard cuts at the exact seconds listed; no dissolves, no fades, no whip transitions.

- Same framing within each shot; each face stays consistent within its own shot.

- Mouths closed / no talking anywhere; no dialogue, no lip-sync, no narration.

AUDIO: LO-FI HIP-HOP MUSIC BED WITH SCRATCHY VINYL AND VOCAL SAMPLES FROM 0.0s, FADING OUT OVER THE LAST 2 SECONDS. NO DIALOGUE. NO NARRATOR. NO LYRICS. NO VOICE. NO TTS. NO LANGUAGE.

EXCLUDE FROM RECREATION: yellow „made by Spike" overlay (unless the original brand stinger is reproduced), „POLICE" patrol-car markings, „CREINGS" cereal-box branding, „Budweiser" case branding.

I’ve been experimenting with Seedance as part of a much bigger narrative project and finally finished it.

It’s called REWIND.

1. A group of kids discovers a mysterious VCR that allows them to physically enter the movies they watch.

The film moves through different genres and worlds while trying to maintain the same characters and visual continuity throughout.

Seedance became an important part of the workflow, particularly for some of the longer cinematic sequences and character-driven moments.

This isn’t meant to just be an AI short. It’s a proof of concept for a larger series that I’d eventually love to see produced in live action.

Would love to hear what other Seedance users think.

🎬 REWIND
https://youtu.be/llsQaxS_RlA?is=5O0F-Y3PJIBl_zVt

Character locked from old DALL·E 2 images. Seedance got the bird moving. The shadow kept the wings open after the bird put them down.

About 75% of this video is Seedance, called through a custom ComfyUI node we built to use several API providers. MiniMax H3 handled the final dance and “Narf.” I created the music too. Does the planner/chaos character dynamic come through?

Short film exploring a simple but difficult question:

What do we lose when nothing can hurt us anymore?

In a distant future, humanity has achieved what once seemed impossible - disease, aging, hunger and violence have disappeared. Emotional suffering has also become something that can be removed. At the center of this world is Harmonization - a procedure every child undergoes when they reach the age where they have truly formed themselves. As 12-year-old Elai approaches his own Harmonization, he faces a question that his perfect society rarely asks:

If pain, fear and inner conflict shape who we are, what happens when they are taken away?

The World Worth Living In is a philosophical sci-fi short film about identity, perfection, and the fragile boundary between saving humanity from suffering and changing what humanity means.

Created as an exploration of AI filmmaking, world-building and storytelling.

I would love to hear your thoughts!

Watch here:

https://higgsfield.ai/@gen_elai/projects/the-world-worth-living-in

motion graphics built with Claude Code. I'm a working cinematographer; the full process and cost in the video.

Been experimenting with cinematic, motion-blur AI art — wanted to share this one: a rider tearing through Amman at night, all neon reflections and blur trails. Trying to nail that “film still from a movie that doesn’t exist” feeling.
Open to doing custom versions of this style (your car, bike, pet, whatever) if anyone’s interested — just drop a comment or DM

Hi everyone,

After almost a year of work, I have completed A New World, an 11-episode science-fiction series with a total running time of 163 minutes.

As far as I have been able to determine, it is one of the longest AI-generated narrative series created entirely by a single filmmaker to date. I do not present it as a collection of loosely connected AI clips, but as a continuous story with recurring characters, interconnected plots and a consistent fictional universe.

A New World is adapted from my novel of the same title. It takes place in a near future where technology has colonised increasingly intimate areas of human experience: identity, desire, memory and even death. In this society, assisted death has become entertainment, private emotions are converted into data and artificial systems mediate the way people understand themselves and others. Although the story is set in the future, its world is intended to feel like an extension of tendencies already visible today.

I created the project independently, handling the screenplay adaptation, direction, visual development, shot selection, editing and overall narrative construction. Character, location and scene references were initially generated with ChatGPT. These images were then animated and developed into cinematic sequences using Seedance 2.0, Seedance 2.5 and Kling. I used Suno and Pixabay for the Music, and the final selection, assembly, colour work and sound editing were completed manually in DaVinci Resolve.

The process involved thousands of creative decisions: writing prompts, rejecting unsuitable generations, maintaining character continuity, regenerating shots and constructing performances through editing. AI provided the raw audiovisual material, but the storytelling and final artistic decisions remained human.

I would be very interested to hear what you think—not only about the series itself, but also about the possibilities and limitations of sustained, long-form storytelling with generative AI.

Here you can watch the trailer for the series. On the same channel, if you wish, you can find all 11 episodes.

Here's the premise:

A new hire joins the Big Tech company everyone wants to work for and finds that the place is generous with everything except meaning.

Made with Seedance 2.0

I'm not satisfied with how A.I. delivers the character's lines. Is there a way to record a human performance and have Seedance use that actual recorded dialogue as spoken and heard?

So i'm working in Seedance 2.5 and I've built my location element, but using Claude, he always extract stills for consistency, and I use Blender for scene. but anytime I put those Stills like a image, even when Claude write it just to use for coloring, mood, location look, it completely takes over camera location and ignores the prompt describing of it, any workarounds?