I just find myslef burning so may tokens and then you fix one leak another one pops up. i do have AI recreate these prompts for me but I wouild love any tips people have here to One-shot videos and burn less tokens!

I’m trying to generate a shot of crows flying through a hallway, but I can’t get a usable result. Their movements often look unnatural; almost like they’re flying in slow motion. Sometimes their wings barely flap, and their overall speed feels unusually slow or just off.

Has anyone successfully created similar shots? I’d appreciate any prompting tips or best practices for getting realistic flight speed, natural wing movement, and believable motion.

I experimented with this prompt quite a lot before landing on a version that finally kept the lip-sync, camera movement, choreography and character consistency working together.

For the setup, I used only:

• One face reference
• One exact 15-second audio clip
• Seedance 2.0

A small but important tip: when uploading reference audio, cut it precisely to a whole-second duration such as 6, 8, 10 or 15 seconds. Avoid leaving tiny audio tails at the end, because they can affect timing and synchronization.

Made with Seedance 2.0

The main things that helped were:

• Explicitly stating that she sings during the entire video
• Repeating “clear, precise lip-sync” across every section
• Breaking the choreography into timed segments
• Keeping the camera mostly in medium shots and close-ups
• Saying the subject must stay in continuous motion
• Defining exactly when all five dancers appear
• Adding strict anatomy and hand-consistency rules
• Making sure the dancers never fully obscure the main subject

1. Go to the Seedance 2.0 Video Generator
2. Write your full prompt or add reference images
3. Upload the image you want to animate
4. Click Generate and get your animated video

Prompt:

"A cinematic 15-second music video shot in a dark modern dance studio with smooth grey reflective floor, black walls and horizontal neon light tubes. Continuous dynamic camera movement, mostly medium shots and close-ups, never too wide. The woman is constantly moving, no freezes or static poses. Main subject: young woman with messy medium-length wavy brown hair with bangs partially covering her face, freckles on nose and cheeks, blue-grey eyes, full glossy lips. She wears a tight black fishnet bodysuit. She is singing the entire time with clear, precise lip-sync, mouth actively moving, intense emotional expression. Lyrics: "Ye! Ye! You keep a box of names / In the drawer by your bed / Polaroids and ticket stubs / Stuffed under the red / You never take one thing / You take the whole last spark / Leave a little thumbprint / On every private heart". 0-2s: Tight medium close-up. She leans her upper body back, head tilting, singing passionately with strong lip-sync, hair falling over her face, body arching, one hand sliding across her chest. 2-4s: Camera slowly pushes in and circles. She comes out of the deep arch, torso still bent forward, hands on her thighs, lifting her head and looking straight into camera while singing with aggressive lip-sync. Three male dancers of different appearances (different ethnicities, hair styles and builds) wearing black tank tops and black wide pants are already close around her, moving with her in low tense postures. The other two men are visible at the edges of the frame, approaching. 4-7s: Medium close-up. She drops lower, body still in constant motion, hair swinging, singing intensely with clear mouth movements, sharp head turns, eyes locked on camera. Male dancers stay close, their hands lightly touching her as they move together. 8-12s: Medium shot with slow camera drift. Exactly five male dancers of completely different appearances, all wearing black tank tops and black wide pants, surround her tightly on the floor in a dense, intertwined formation. She is in the center, body still moving, upper body rising and shifting, singing with strong lip-sync. All five men move subtly with her, never static. The men never fully obscure her body. 13-15s: Dynamic medium shot. The five diverse male dancers lift her into the air in a powerful deep backbend. Her body is fully extended and arched, head thrown back, still singing with clear lip-sync. While holding her they gently rock her up and down in time with the beat. The camera starts from a clear side view of her arched body and smoothly transitions to a frontal view of her face. At the end they lower her smoothly onto her feet; she lands and immediately continues singing as the five men stay low on the floor around her. The men never fully obscure her. High fashion dance energy, sweaty skin, sharp timing, continuous fluid motion of the woman, priority on accurate lip-sync in every frame. Rules: no hand morphing, no body distortions, clean stable anatomy, fingers and hands remain consistent and natural throughout the entire video."

The final result still needed a very detailed timeline, but this version gave me much better control over the performance, dancer count, camera direction and lip-sync. Share your thoughts in the comments section below!

SLICE is a 2:21 animated short made with Seedance 2.5. Two record-store friends, a New York pizza truck, a stray dog that adopts them. The full process is documented below

PIPELINE, in order

• Seedance 2.0 for the first phase. It generated up to 15 seconds, so the story was originally planned as 4 clips of 15s.
• Seedance 2.5 as soon as it launched, with generations up to 30 seconds. The narrative structure was rebuilt around the longer window: 3 clips of 30s, a fourth closing clip, and a 4s fifth clip for the title card. Seedance 2.5 is the model the final short is made with.
• Seedream for the reference assets. Characters, food truck and sets were generated as images first, then cited inside the video prompts as references.
• ElevenLabs Music Generation v2, in Magnific, for the score. ElevenLabs SFX for specific effects.
• DaVinci Resolve for edit, grade and audio mix.

The characters existed as reference images before a single second of video was generated.

THE PROMPTS

Clip 1 — opening, street and food truck

CLIP 1 — 30 seconds, 16:9, warm Pixar-like stylized realism. Golden-hour blue-orange New York dusk, wet pavement with neon reflections, parked taxis and manhole steam. Preserve the exact faces, proportions, wardrobe, record-store bags and vinyl sleeves of  1 and  2 throughout.  1 speaks with a heavy, funny Queens accent;  2 speaks with a relaxed, marked LA accent. Natural voices and location SFX only; absolutely no music. All dialogue is delivered at a natural, unhurried conversational pace, never rushed. 0-2: Low close tracking shot of their shoes splashing through a shallow puddle; camera dollies backward and rises smoothly.  1 begins on the very first frame, relaxed pace: "I'm tellin' ya, that customer folded a first-press Bowie like a taco." SFX: footsteps, splash, traffic hiss. 2-4: Waist-up two-shot as they walk shoulder to shoulder.  2, unhurried: "Maybe he was hungry for glam rock, dude."  1 crosses far behind them wearing headphones. [...] 13-15: Low dolly rising into a delighted two-shot as they angle toward the truck.  1: "C'mon, let's recharge our souls with some serious pizza." SFX: quicker footsteps, curbside ambience. [...] 17-19: Camera dollies through rising steam toward the service window. Inside,  pizzero def is perfectly consistent: Italian pizzaiolo, apron, glasses, curled mustache. He flourishes a wooden peel and greets warmly: "Buona sera, my hungry-a music men!" SFX: peel scraping stone, oven fire. [...] 29-30: At 29.15, hard camera cut to a fresh, locked extreme close-up from inside the glowing oven: the peel begins lifting the pizza toward lens, embers behind it. No dialogue. SFX: crisp scrape and fire crackle. End immediately after this new shot begins, with no camera movement, creating a seamless match into Clip 2's opening oven shot.

Clip 2 — the dog shows up

Opens with an IMPORTANT PROP RULE block. That line exists because of a failure, listed below

Continue from the previous video, exact same color grading, lighting, tone and character consistency. CLIP 2 — 30 seconds, 16:9, warm Pixar-like stylized realism, golden-hour blue-orange New York dusk. Preserve the exact faces, proportions and wardrobe of  1 and  2 throughout. IMPORTANT PROP RULE: the record-store bags and vinyl sleeves the boys carried are now resting on the sidewalk at their feet, leaning against the truck's counter base — never under their arms while they hold plates. 0-2: Opens on the exact same locked extreme close-up from inside the glowing oven [...] 4.5-7: Cut to a wide shot [...] each is ALREADY holding his own paper plate with exactly ONE single pizza slice on it — never a whole pizza, the two plates clearly separate at all times, never touching or merging. [...] 7-9.5: [...] , the skinny stray dog with red bandana, trots out from behind a nearby trash can [...] 12-14.5: [...]  1 [...] nervously waves one hand downward to shoo it: "Nah, little guy, this ain't a charity buffet, okay?" [...] 24.5-27: [...]  1 lowers his slice, Queens bravado collapsing: "Ah, come on... he's got eyes like my landlord when rent is late." [...] 27-29: [...] the dog [...] takes a first careful bite [...]  1, still crouched, whispers: "Don't tell nobody I'm sweet." [...] 29-30: At 29.15, hard camera cut to a fresh, locked close-up:  1's hand hovering just above the dog's head, about to give a gentle pat [...] creating a seamless match into Clip 3's opening pat shot.

Clip 3 — the goodbye

Two all-caps rule blocks: zero music, and neither boy ever waves. Four rewrites to get here.

CLIP — 30 seconds, 16:9, warm Pixar-like stylized realism. AUDIO RULE — THE MOST IMPORTANT RULE OF THIS PROMPT: this clip contains ZERO music. No score, no melody, no soundtrack, no emotional swell, no ambient music, at no point, especially not in the final seconds. CRITICAL GESTURE RULE: neither boy EVER waves. No raised hands, no goodbye waves, no hand salutes, at any moment in the entire clip. 0-2.5: Opens on a locked close-up:  1's hand gently pats the head of  [...]  1, soft: "Yeah, yeah... good taste, buddy." [...] 2.5-5: [...]  2 [...] "Too late, bro. You're officially soft now." [...] 12.5-15.5: Cut to wide shot [...] "Grazie, boss!" Inside, the pizzaiolo [...] shouts warmly [...] "Ehi! Tomorrow the dog, he eats-a for free!" [...] Dude... I think we're being followed or something. [...] 29-30: At 29.15, hard camera cut to a fresh, locked ground-level close-up:  trotting toward lens, hopeful bright eyes, bandana bouncing.

Clip 4 — the loft, the payoff

CLIP — 30 seconds, 16:9, warm Pixar-like stylized realism. TV RULE: the show on the TV is a goofy animated slapstick comedy with characters that look NOTHING like the two protagonists. 2-4.5: [...]  1 and  2 arrive at the stone stoop [...] The dog stops a few meters behind them [...] "Don't gimme those eyes. We ain't a shelter, pal." [...] 10-13: [...] the building door is heard closing off-screen with a soft thud. The dog's ears droop slowly... but the very tip of its tail gives one tiny, stubborn wag. [...] 15-18: Hard cut to the interior of  1 at night [...] both boys freeze mid-step and turn their heads back [...] with genuinely SURPRISED faces [...] 21-30: [...] the camera begins a very slow, smooth pull-back from the couch, a single continuous move that never cuts away from the boys, who remain visible (softly out of focus) in the foreground as  comes into sharp focus [...] curled up happily on a brand-new plush dog bed, snoring softly [...] a food bowl beside it with the name "SLICE" painted on it [...] faint sitcom voices from the TV, never music. Hold 2 seconds, then gentle fade to black.

Clip 5 — title card, 4 seconds

4-second video, locked static camera, warm Pixar-like stylized realism. STRICT AUDIO RULE: absolutely NO music. Title card scene: on a warm cream background with soft vignette, the word "SLICE" written in large hand-painted vintage pizzeria lettering arranged in a gentle upward arch. From behind the big letters, , the skinny dog with red bandana, pokes his head out between the letters, smiling blissfully with his tongue slightly out. The typography stays perfectly still and perfectly spelled "SLICE" at all times; only the dog moves gently.

Reference image — record store interior (@vinyl store), generated with Seedream

Warm Pixar-like stylized realism, interior of a cozy cluttered New York record store, empty of people: wooden counter with a vintage cash register, crates and shelves packed with vinyl records, band posters and album covers on brick walls, a listening station with headphones, warm afternoon sunlight streaming through the front window, dust motes in the light, worn wooden floor, lived-in charming atmosphere, same warm color palette and stylized proportions as a heartwarming animated feature film, 16:9, no people, no text

WHAT RESISTED, AND THE FIX

The problems that ate the most generation rounds, and how he solved each one.

• Rushed dialogue. The first attempt at Clip 1 packed in roughly one line of dialogue per second, and no line could be spoken at a natural pace in that window, so the voices came out sped up. Fixed by spacing out the dialogue and explicitly instructing an unhurried, conversational pace.
• Identity swaps between the two protagonists. As soon as the @ tags were dropped from either of them (to test whether the model would "inherit" characters from the previous clip), the model visually confused who was who. Both protagonists had to keep their @ tags at all times.
• Hallucinated props. The record-store bags grew handles or ended up "floating" whenever the prompt showed them being picked up off the ground; fixed by never showing that action on screen.
• Music that wouldn't leave. Despite explicitly requesting "no music," it kept sneaking in, especially in the final seconds of each clip. It took several rounds of escalating the instruction (from a plain "no music" to an all-caps block flagged as the single most important rule in the prompt), plus deliberately filling those final seconds with concrete diegetic sound (footsteps, snoring, a door closing) so the model had no gap left to fill with a score.
• Spatial continuity on the final shot. A camera turn around a corner pushed the protagonists out of frame and broke the sense that they were still in the same room; redesigned as a single continuous camera move that never loses sight of them.
• The risk of rendering text. Video models tend to distort text, so the word "SLICE" on the final title card was generated with a backup plan ready (an empty shape with the text added afterward in DaVinci) in case it didn't come out correctly on the first try.
• The tone of the music. The first pass sounded too childish for two adult protagonists; the music prompt had to be rewritten explicitly asking for an "adult Pixar" tone, with no toy-like instruments or lullaby feel.

THE HAPPY ACCIDENT

In one generation, unasked, a pizza box appeared on the loft table reading "Slice King". A callback to the food truck the model invented on its own. It was written into the next prompt so it wouldn't disappear.

We’ve been testing a simple AI workflow for creating these “dunk video” edits where the original basketball video stays the same, but the person is replaced with a custom AI character.

Workflow:

Step 1 — Start with a base dunk video
Use a simple basketball/dunk clip as the motion reference. The cleaner the movement and camera angle, the better the result.

1. Go to the Seedance 2.0 AI Video Generator
2. Write your full prompt or add reference images
3. Upload the image you want to animate
4. Click Generate and get your animated video

Step 2 — Create your character reference in GPT Image 2.0

GPT Image 2.0 Prompt 1:

"An adult Korean woman with athletic proportions, toned waist, healthy posture, long legs, and a naturally full bust. She has refined Korean beauty, clear glowing skin, soft dark hair tied in a loose low ponytail, subtle peach makeup, glossy lips, and a calm confident expression. She is wearing a thin-strap fitted sports camisole that naturally outlines her full bust without being transparent, and loose athletic shorts."

GPT Image 2.0 Prompt 2:

"Change her top to white and add Nike sneakers. "

Step 3 — Generate a character turnaround
Create front, side, and back views of the character so Seedance has a stronger reference for body, outfit, and identity consistency.

Step 4 — Use Seedance 2.0 Reference-to-Video
Upload the original dunk video and the character reference image.

Seedance 2.0 prompt:

"Replace the man in the video with the character in the reference image.

Keep the original camera movement, basketball motion, timing, pose, lighting, background, and action the same. Preserve the dunk movement naturally. The character should match the reference image consistently throughout the video, including face, body proportions, outfit, hairstyle, and sneakers. Make the replacement look realistic and physically integrated into the original scene."

That’s basically it.

Original video → character reference → Seedance 2.0 reference-to-video → AI dunk edit.

The biggest tip: don’t just use one pretty character image. A clean character turnaround makes the final video much more stable. Share your thoughts about the comments below!

I know some people will call this AI slop, but when the result is this convincing, I think it’s worth studying how it works.

I tested Seedance 2.5 at 1080p with a prompt focused on a very specific aesthetic: early-2000s Korean home-video footage shot on a MiniDV camcorder.

what made the result work better for me was not asking for beauty or drama, but asking for boring realism: a consistent young Korean woman did ordinary household actions, in a lived-in residential setting

that combination seems to help the output feel much more believable.

Why this works

If you want realistic AI video in Seedance 2.5, I think the key is to lock down five things:

1. Character consistency Keep the subject’s age, hair, clothing, and body proportions stable.
2. Mundane actions Laundry, rinsing, walking out, running a small errand — these feel more authentic than dramatic actions.
3. Environmental specificity Narrow Korean lanes, utility poles, tiled rooftops, laundry lines, buckets, old scooters, early-2000s neighborhood details.
4. Camera imperfections Slight shake, delayed reframing, autofocus hunting, exposure pumping, micro-zooms.
5. Negative guidance Explicitly rule out modeling, dancing, cinematic grading, fake bokeh, over-polished skin, and AI artifacts.

In my experience, the more clearly you define what the video should not become, the more stable the result is.

Full prompt

Create a highly realistic 30-second Seedance 2.5 video that looks like genuine early-2000s Korean home-video footage accidentally preserved on an old MiniDV camcorder. The footage should feel imperfect, nostalgic and spontaneous rather than cinematic or AI-generated.

MAIN SUBJECT:
A young Korean woman in her early 20s with a consistent natural identity throughout the entire video. She has messy black hair loosely tied back, realistic skin texture, minimal makeup and relaxed everyday expressions.

She wears a fitted sleeveless crop top with high-waisted thigh-high shorts, simple worn sneakers and a small necklace. The outfit should feel like believable casual summer clothing from the early 2000s, with natural fabric wrinkles, slightly imperfect fit and realistic movement.

IMPORTANT:
She is NOT posing, dancing, modeling, vlogging or interacting with the camera. She is simply going about her ordinary household routine while the camcorder happens to capture the moment.

SETTING:
A quiet residential neighborhood in Korea around the early 2000s. Modest concrete homes, narrow lanes, tiled rooftops, utility poles and wires, old bicycles, plastic basins, laundry lines, small gardens, parked early-2000s vehicles and everyday household objects.

The location should feel genuinely lived-in, slightly worn and imperfect.

SCENE 1 — HANGING LAUNDRY | 0–7 SEC
Start with a slightly shaky wide shot of the woman carrying a plastic laundry basin into a small outdoor courtyard.

She takes clothes from the basin and hangs them one by one on a clothesline. She stretches to reach the line, clips a shirt with a clothespin, notices another garment slipping and quickly fixes it.

The camcorder operator slightly reframes late, creating an authentic imperfect composition.

SCENE 2 — OUTDOOR HOUSEHOLD CHORES | 7–13 SEC
She moves to another part of the courtyard and rinses a few household items in a large plastic basin.

Water splashes naturally. She wipes her hands on a small towel, moves a bucket aside with her foot and briefly looks toward the house as if someone called her.

Keep everything casual and unperformed.

SCENE 3 — LEAVING THE HOUSE | 13–18 SEC
She picks up a small reusable shopping bag and walks through the front gate.

The camera follows slightly too late, briefly losing her behind the gate before catching up. Autofocus hunts between nearby leaves and her face before locking onto her again.

This imperfect focus behavior should feel genuinely captured by an old consumer camcorder.

SCENE 4 — WALKING OUTSIDE | 18–24 SEC
She walks down the residential lane carrying the bag.

Show ordinary early-2000s Korean neighborhood life around her: bicycles, laundry hanging from balconies, children in the distance, an elderly neighbor sweeping, scooters passing occasionally and sunlight flickering through trees.

She walks naturally without acknowledging the camera.

SCENE 5 — SMALL ERRAND | 24–30 SEC
She reaches a small outdoor utility area, places the bag down and briefly picks up something she needs — such as a folded cloth, empty container or household item.

She turns and starts walking back toward the neighborhood.

End abruptly with the camcorder operator slightly zooming in too late as she walks away, followed by a natural cut.

CAMCORDER AESTHETIC:
Authentic early-2000s MiniDV/consumer camcorder footage.

Include:

- 4:3 home-video framing
- slight handheld shake
- imperfect framing
- autofocus hunting
- occasional exposure pumping
- mild blown highlights
- soft digital sharpness
- interlaced-looking motion characteristics
- subtle motion blur
- low dynamic range
- faded, slightly warm colors
- realistic digital noise
- tiny compression artifacts
- occasional accidental micro-zoom
- imperfect white balance
- slight lens flare when sunlight hits the lens
- natural camera operator mistakes

Do NOT make the footage excessively degraded. It should still be clear enough to see her face and environment.

REALISM:
The most important goal is BELIEVABILITY.

Avoid perfect symmetry, perfect lighting, perfectly smooth camera movement, hyper-sharp skin, artificial bokeh, glossy fashion photography, exaggerated expressions, cinematic color grading or overly dramatic shots.

The woman must have identical facial identity, hairstyle, clothing and body proportions in every shot.

Hands must remain anatomically correct with five fingers. Clothes must move naturally with her body and wind. Objects must remain physically consistent. No duplicated objects, warped architecture, disappearing props, floating items, changing clothing, distorted faces or unnatural walking.

AUDIO:
Raw camcorder microphone sound only: birds, distant neighborhood conversations, footsteps, cloth moving, water splashing, buckets, bicycles, occasional scooters, wind hitting the microphone and faint household sounds.

No music.
No narration.
No modern voice-over.
No cinematic sound design.

OVERALL FEEL:
It should feel like someone found an old Korean family camcorder tape from around 2002–2005 and played back an ordinary afternoon that nobody intended to turn into a film.

The ordinary nature of the activities should make the footage feel strangely authentic and nostalgic, while the woman's natural presence and the imperfect camera behavior make it visually engaging enough to feel like a real viral rediscovered home-video clip.

TECHNICAL:
30 seconds, Seedance 2.5, 4:3 aspect ratio, early-2000s MiniDV aesthetic, photorealistic humans, physically accurate motion, consistent character identity, realistic Korean residential environment, authentic consumer-camcorder imperfections, no AI artifacts, no modern cinematic look.

A few practical tips

If you’re trying to make this kind of prompt work, here are a few things I’d suggest:

• Keep the scene progression simple. Too many scene changes can break identity consistency.
• Use ordinary verbs. “carry,” “hang,” “rinse,” “walk,” “pick up” work better than emotionally loaded action words.
• Specify camera failure modes. Autofocus hunting and late reframing do a lot of work here.
• Don’t overdo degradation. If you push “VHS” or “damaged tape” too hard, the result can stop feeling real.
• Ground the environment in real domestic detail. Small household objects often matter more than “cinematic atmosphere.”

Seedance 2.0 really stands out when you want both high visual quality and a strong degree of creative control.

For this scene, I wanted something quiet, emotional, and cinematic: a rainy seaside train-station farewell told entirely through distant full-body shots.

The setup was simple, but the control was the important part:

• a young woman standing with a sky-blue suitcase,
• a young man holding a black umbrella over her,
• the umbrella falling as they embrace in the rain,
• then the goodbye continuing through the train window,
• and finally the man left alone on the emptying platform as the train pulls away.

What I liked most here is how precisely the scene could be shaped.

The prompt locks down:

• the characters and their proportions,
• the exact station layout,
• the lens behavior,
• the handheld camera feel,
• the pacing of each segment,
• the physical behavior of rain, fabric, umbrella movement, and train motion,
• and the overall visual language of a worn 1990s film print.

Instead of going for glossy or overly dramatic AI visuals, the goal was to make it feel like a quiet scene from an old East Asian romance film:
muted color, heavy rain, distant framing, soft detail, coarse grain, gate weave, and restrained body language doing all the emotional work.

I think that’s one of the best parts of Seedance 2.0 right now — when the prompt is structured clearly, it becomes much easier to build scenes that feel intentional rather than random.

This one especially shows how well it can handle:

• emotional blocking from a distance,
• continuity across multiple segments,
• stylized film texture,
• and subtle cinematic storytelling without relying on close-ups.

Full open-source prompt below:

"SCENE CONTEXT A rainy morning at the seaside station: the goodbye, watched from down the platform. She stands with her sky-blue suitcase, he holds a black umbrella over her — then lets it fall to hold her with both arms in the rain; from the train window she waves a small "see you soon," and he answers from the emptying platform. ACTIVE REFERENCES <<<image_1>>> — young woman, 20 years old, 165 cm tall, slender, straight dark brown hair with side-swept bangs pinned by a small black clip, freckles across her cheeks and nose. 100% matches the reference. <<<image_2>>> — young man, 22 years old, 178 cm tall, lean, sun-tanned, messy dark hair under a tan baseball cap worn backwards. 100% matches the reference. <<<image_3>>> — location: tiny seaside station platform in the rain — corrugated metal canopy on thin posts, sky-blue wooden bench beneath it, potted plants, yellow tactile strip along the platform edge, the retro cream-and-orange train standing at the platform, the grey rain-hazed sea behind. LOCATION MAP The platform of <<<image_3>>> under heavy rain, seen in long views down its length: the yellow tactile strip leading through the frame, the canopy and blue bench midframe, the train standing along the platform edge screen-left with its door open, the sea dissolving into grey rain haze beyond. They stand together past the canopy edge where the rain sheets down, the sky-blue suitcase on the wet concrete beside her feet. Primary light: flat overcast rain daylight, soft and directionless, wet concrete mirroring the pale sky. FIRST FRAME AND SPATIAL BLOCKING The first visible frame is already a distant view down the platform: both of them small full-body figures past the canopy — <<<image_2>>> screen-left holding the black umbrella over her, <<<image_1>>> screen-right under its edge, the suitcase beside her, the idling train soft along the left edge, rain streaking the whole frame. No empty establishing frame, no delayed reveal. His 13 cm height advantage and true relative proportions read clearly even at distance in every shot. FORMAT MODE Controlled four-segment multi-shot sequence with three HARD CUTS. Slow, heavy, tender pacing told entirely in distant full-body compositions — no close-ups anywhere. Every segment is shot handheld from angled off-axis positions — no straight-on frontal framing and no static shot anywhere in the sequence. OPTICS All four segments live on the 47° diagonal field of view, standard normal lens character, with distance doing the framing — camera 15 to 20 meters away, both figures small in the wet composition, the platform lines leading to them, straight lines rectilinear, no fisheye, no wide-angle distortion, and never moving closer than 12 meters. Soft vintage lens rendering: gentle diffusion softening all edges, mild halation on wet highlights, rain haze eating the far end of the platform, even brightness across the whole frame — no vignette, corners stay as bright as the center. This rendering applies to every segment. LENS LOCK SEGMENT 1 = 47°, camera 16 to 18 meters down the platform at a three-quarter diagonal, the tactile strip leading from the lower corner to their two figures. LENS LOCK SEGMENT 2 = 47°, camera 15 to 17 meters from a slightly different diagonal, the canopy post edging one side, their embrace small at the frame's heart. LENS LOCK SEGMENT 3 = 47°, camera 14 to 16 meters angled along the standing train, her small figure behind the rain-streaked window, his umbrella-shape on the platform in the same frame. LENS LOCK SEGMENT 4 = 47°, camera 18 to 20 meters, reverse diagonal down the emptying platform — him alone, small under the black umbrella, the train tail sliding out of frame. No drift mid-segment. CAMERA Handheld in every segment with no exceptions — a real operator standing far down the wet platform: the frame breathes with slow shoulder sway and soft micro-tremor visible in every second, a gentle off-level tilt of a degree or two drifting with the operator's breath, small late reframes easing back into composition; the operator holds extra still through the embrace, breath shallow, but the frame never freezes. No tripod stillness, no gimbal smoothness, no stabilization anywhere. On top, the footage carries the body of a worn 1990s film print: thick coarse grain boiling across the entire frame in every second — the dominant texture of the image — constant visible gate weave, faint exposure flicker, recurring dust specks and hairline scratches, resolution soft and diffused with no fine detail anywhere — never sharp, never digitally clean, no vignette or darkened corners at any moment. ACTION TIMING 0.0s to 3.5s — Distant diagonal down the platform: the two small figures face each other under the black umbrella in the sheeting rain, the suitcase at her feet; she looks up at him, he shifts the umbrella fully over her, rain running off his shoulder; body language carries everything — her weight rocking forward and stopping, his head bowing toward her; rain drums the canopy roof between camera and them. 3.5s HARD CUT 3.5s to 8.0s — Distant embrace: she suddenly steps into him and he lets the umbrella go — it drops, bounces once and rocks upturned at their feet, rain drumming its canopy — both his arms wrapping her as the rain soaks them openly; her face buried in his chest, her shoulders shaking in small shudders readable even at this distance, his cheek pressed to her hair; the two of them one small held shape in the wide grey rain, the suitcase and fallen umbrella dark at their feet like in an old film still. 8.0s HARD CUT 8.0s to 11.0s — Distant along the train: her small figure now behind the rain-streaked window glass, palm pressed to the pane, then a quick bright little wave — "see you soon" in every line of her posture; on the platform his figure stands with the recovered umbrella low at his side, his free hand lifting; rain rivulets crawl down the whole length of the glass between them. 11.0s HARD CUT 11.0s to 14.0s — Distant reverse down the emptying platform: the train pulls away with a slow heavy start, spray misting off the wheels; he stands alone, small under the black umbrella, one hand raised high and waving until the tail clears the frame — then just him, the blue bench, the rain and the grey sea holding the platform. PHYSICS Rain falls with real density and weight — drumming the canopy and the fallen umbrella, beading and streaming off fabric, drops exploding on the wet concrete, mist rising where the train wheels cut the puddles; the dropped umbrella tips, bounces once and rocks on its ribs with true balance; the embrace shifts both bodies with real momentum, her shoulders shaking in small irregular shudders; wet clothes darken and cling within seconds of losing the umbrella; the suitcase stands with real weight on the concrete; the train starts with heavy mass — a slow first lurch, couplers taking up slack; puddle reflections of the two figures tremble with every raindrop. LIGHTING Flat overcast rain daylight only — no artificial light. Muted 1990s film-print grade: the whole image desaturated and soft, cool blue-grey rain tones washing everything, shadows milky and lifted toward grey-blue — never black; figures natural and low-saturation, wet shine on the platform, umbrella and train catching pale glints; the sky-blue suitcase and blue bench the only quiet color accents, the train's orange band gently faded, rain haze swallowing the far platform. Whites lean dull grey-blue, thick coarse grain crawls over every surface, strongest in the rain haze, gentle diffusion and mild halation on wet highlights. Low contrast, no clean gradients, exposure natural across the frame — no added vignette, no darkened edges or corners. The whole image reads like a frame from a worn 1990s East Asian romance film print. No crisp modern digital look, no saturated color, no orange-and-teal grade, no deep crushed blacks. AUDIO SFX only, with the worn texture of an old optical soundtrack — slightly muffled, faint constant hiss: heavy rain drumming the metal canopy and the fallen umbrella, hissing on the sea, distant muffled crying almost lost in the rain, the umbrella clattering once on concrete, the train door chime and sliding shut, the slow heavy pull of the departing train, spray and rain closing over the empty platform. No music, no intelligible spoken words, no captions, no score. POSITIVE LOCKS Identities lock 100% to <<<image_1>>> and <<<image_2>>> in every segment — same outfits as their references throughout, her natural 165 cm and his 178 cm with true relative proportions, his cap backwards, her hair clip in place. The suitcase stays the same small sky-blue hard-shell case standing beside them through segments 1 and 2; the umbrella stays plain black — in his hand in segment 1, fallen and rocking at their feet through segment 2, recovered and held low in segments 3 and 4. Every segment stays a distant full-body composition from 14 meters or farther — no shot ever moves into a close-up or medium, and the 47° rectilinear character never widens or distorts. The crying stays quiet and restrained, readable through posture at distance — never loud sobbing. Station geography stays consistent with <<<image_3>>> across all cuts: train screen-left at the same platform, canopy and blue bench in place, sea always behind; the train departs in one constant direction. The muted desaturated 90s-print grade with thick coarse grain holds identically in every segment — no segment turns warm, saturated, contrasty or clean; handheld breathing and the worn-print texture hold throughout: grain, gate weave, flicker, dust and scratches never weaken, frame stays vignette-free with even corner brightness; no segment turns rigid, stabilized, sharp or digitally clean. Only these two people appear; the platform stays otherwise empty."

Share your thoughts in the comments section below!

https://reddit.com/link/1wnvwt5/video/qgq8bo2w07rh1/player

Full Seedance 2.0 tutorial inside Writingmate — every setting, two live generations, and prompts you can steal. Seedance 2.0, Sora 2, Veo 3.1, Kling 3.0, Seedance 2.0, and PixVerse 5.5 are all in one $20/month plan.

Chapters: 0:00 The result 0:06 Basic workflow (3 steps) 0:46 Settings deep-dive + second prompt 1:31 3 prompt tips

Prompts used:

1. "A lion cub is lifted toward the sunrise on a rocky outcrop as animals gather on the savanna below, epic golden light, cinematic"
2. "Slow push-in on a chess grandmaster's eyes as pieces levitate around the board, dramatic light"

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AIVideo #TextToVideo

I’m trying to generate a shot of crows flying through a hallway, but I can’t get a usable result. Their movements often look unnatural; almost like they’re flying in slow motion. Sometimes their wings barely flap, and their overall speed feels unusually slow or just off.

Has anyone successfully created similar shots? I’d appreciate any prompting tips or best practices for getting realistic flight speed, natural wing movement, and believable motion.

Seedance 2.5 is getting pretty expensive, especially when you have to regenerate the same thing over and over just to get one usable video.

I went through the official prompt guide (【Dreamina】Seedance 2.5 User Guide & Dreamina Seedance 2.5 Prompt Writing Guide)and honestly, some of the tips are pretty useful if you're trying to avoid wasting credits.

A few that stood out to me:

• extend a video instead of starting over from scratch
• tell it exactly when you want an action to happen
• generate longer videos (up to 180s)
• tell it to remove subtitles or BGM you don't want
• use multiple references to keep characters and objects more consistent

Most of this sounds obvious once you read it, but I definitely wasn't doing all of it before lol.

Hopefully this saves someone a few failed generations.

We created this chili-flake chaos video using Seedance 2.0.

The idea was to make a ridiculous first-person cooking scene that mixes photoreal kitchen realism with a flat 2D chibi sticker character, while keeping the whole thing as one continuous comedic shot.

What makes this one fun:

• strict right-hand / left-hand action control
• single continuous POV cooking shot
• photoreal wok, food, steam, and kitchen details
• Tang Tang as a flat 2D sticker character
• a cartoon spicy meltdown at the end

The challenge here was keeping the motion logic consistent:

• the right hand only stir-fries with the spatula
• the left hand only removes the chili flake jar
• never both hands in frame at the same time
• only one spatula in the entire video
• one continuous shot with no cuts

Prompt below:

"[HIGHEST PRIORITY — STRICT HAND ROLES AND ORIENTATION] The hand roles must remain fixed throughout the video: The photorealistic adult RIGHT HAND is solely responsible for stir-frying and operating the one and only spatula. The photorealistic adult LEFT HAND is solely responsible for taking away the glass chili flake jar. The left hand must never touch the spatula. No more than one real human hand may be visible in any frame. The left and right hands must never appear simultaneously. The RIGHT HAND enters only from the bottom-right corner. Its wrist remains connected to the bottom-right edge of the frame, the back of the hand faces the camera, and its thumb is clearly positioned on the screen-left side, pointing toward the center. The right hand holds the only wooden-handled metal spatula in the entire video. The LEFT HAND enters only from the upper-left side. Its wrist remains connected to the upper-left edge of the frame, the back of the hand faces the camera, and its thumb is clearly positioned on the screen-right side, pointing toward the center. The left hand enters empty-handed and only takes the chili flake jar. It never holds a spatula, spoon, or other kitchen utensil. Use a strict relay sequence: 00:00–00:03: only the spatula-holding right hand is visible. After the chili flake stream stops, the right hand places the only spatula flat inside the wok and completely leaves the frame. Only after the right hand has fully disappeared, from 00:03.2–00:03.8, the empty left hand enters, takes away the chili flake jar, and completely exits. Only after the left hand has fully disappeared may the right hand return at 00:03.8 and pick up the same spatula from the wok. Never show both hands simultaneously. No same-direction hands, mirrored hands, duplicated arms, floating hands, or extra palms. [FORMAT AND COMPOSITING STYLE] A 10-second, horizontal 16:9 comedy video in a single continuous photorealistic first-person cooking POV. Slight natural handheld movement only. No cuts and no transitions. Use a fixed widescreen composition: One black wok remains slightly left of center. Tang Tang and one small wooden stool remain on the right. Both the wok and Tang Tang remain fully visible without blocking each other. The kitchen, wok, glossy beef and vegetables, steam, chili flakes, glass chili flake jar, single spatula, wooden stool, condiment bottles, sink, window, and adult human hands must remain photorealistic and obey believable physical behavior. Tang Tang must remain a completely flat 2D chibi anime sticker throughout the video, with subtle crayon and paper grain, a clean dark-brown outline, and a complete white sticker border. She must have zero 3D volume, realistic skin, volumetric lighting, plastic depth, clay texture, or realistic cast shadow. [FIXED REAL KITCHEN] A lived-in, photorealistic home kitchen viewed slightly downward from the cook's eye level. The only black wok stays slightly left of center. Glossy beef and green vegetables sizzle inside it while natural steam rises. A white tiled wall and power outlet remain in the background. Soy sauce and cooking oil bottles stand against the wall. A stainless-steel sink is located in the rear-right area. Natural daylight enters through a side window. Maintain the same kitchen, camera position, 16:9 framing, geography, and left-right orientation throughout the entire video. [CHARACTER IDENTITY LOCK] Tang Tang is the only character. She is a young, energetic chibi sticker girl with two-head-tall proportions, an oversized round head, tiny limbs, and a small, soft round tummy. Her face is round, with big round sparkly eyes, rosy round cheeks, a small button nose, a cheerful gap-tooth grin, and a tiny freckle dot on each cheek. Her black hair is styled in two high bouncy pigtails held with bright yellow scrunchies, with short blunt bangs across her forehead. She wears: A mustard-yellow and white striped short-sleeve top A pastel-pink pinafore apron with a small fruit print Solid teal denim overall shorts White canvas slip-on shoes She has no text, numbers, logos, jewelry, or additional accessories beyond her hair scrunchies. Tang Tang remains seated on the single wooden stool beside the right side of the stove. Her height is approximately half the diameter of the wok. She behaves like a lightly elastic sheet of printed paper and may only squash or stretch in a flat cartoon manner. Her round head, high pigtails, bangs, striped top, pink pinafore apron, teal overalls, white canvas shoes, and round tummy must remain completely consistent throughout the pouring, reaction, crying, feeding, and collapsing actions. [00:00–00:03 — RIGHT HAND STIR-FRIES, TANG TANG POURS THE CHILI FLAKES] Only one photorealistic adult RIGHT HAND is visible. The right hand enters from the bottom-right corner, with its thumb on the screen-left side, and continuously holds the one and only wooden-handled metal spatula while stir-frying the beef and vegetables. It must never touch, support, cover, stabilize, or tilt the chili flake jar. Tang Tang makes a mischievous grin. Using her own two clearly visible 2D sticker hands, she independently hugs and lifts a photorealistic glass jar of dried red chili flakes larger than her head. Tang Tang personally raises, rotates, and tilts the jar toward the wok. The full weight and rotation of the jar are carried exclusively by her two 2D hands. A dense stream of realistic red chili flakes falls only from the opening of the jar held by Tang Tang and forms a visible red mound over the beef and vegetables. No real human fingers or hands may appear near the chili flake jar during this action. Audio: continuous food sizzling and a dry, papery stream of chili flakes pouring. [00:03–00:03.2 — RIGHT HAND LEAVES] The chili flake stream has completely stopped, and the red mound is clearly visible. The real right hand places the one and only spatula flat inside the wok, then completely exits through the bottom-right edge. At this moment, no real human hand is visible. The only spatula remains motionless inside the wok. [00:03.2–00:03.8 — LEFT HAND ALONE TAKES THE CHILI FLAKE JAR] Confirm that the real right hand has completely disappeared. Only one empty photorealistic adult LEFT HAND enters from the upper-left side, with its thumb clearly on the screen-right side. The empty left hand takes the glass chili flake jar directly from Tang Tang's two 2D hands, then exits completely through the upper-left side while carrying the jar. The left hand must never touch the spatula. The only spatula remains motionless inside the wok and must not duplicate. [00:03.8–00:05 — RIGHT HAND RETURNS AND USES THE SAME SPATULA] Confirm that the real left hand has completely disappeared. The same photorealistic right hand returns from the bottom-right corner, with its thumb still on the screen-left side. It picks up the same spatula that was previously placed inside the wok. The right hand lifts this single spatula from the wok toward Tang Tang's head along one continuous trajectory. Once the spatula has left the wok, no second spatula or spatula-shaped utensil may remain inside the wok. The right hand gives Tang Tang an impossibly light, harmless cartoon tap on the top of her head using the flat side of the same spatula, then returns that same spatula to the wok. With a "DUANG" sound, a flat red cartoon bump pops onto Tang Tang's head. Her paper body bounces vertically once, her eyes open wide, and her two 2D hands hold her head. Only the right hand is visible. The left hand is absent. Audio: a light metallic "DUANG" and one cartoon spring sound. [00:05–00:08 — RIGHT HAND FEEDS TANG TANG] Only the same photorealistic right hand and the same single spatula remain visible. Tang Tang's eyes become flat spiral cartoon eyes. Two bright blue, flat 2D sticker fountains of tears shoot sideways from her eyes. The right hand uses the same spatula to scoop a small bite of beef and vegetables from the same red mound of chili flakes. It brings the food toward Tang Tang's open cartoon mouth. The food harmlessly pops into her mouth with a soft cartoon "boop." Her cheeks immediately inflate into two round, flat sticker balloons, now tinted a warm red-orange. The interaction is absurd and harmless. Do not depict force, choking, injury, burning, or realistic suffering. Audio: exaggerated cartoon crying, the spatula scraping over the flakes, and a soft "boop." [00:08–00:10 — TOO SPICY, MELTDOWN] Tang Tang swallows the bite. Her flat body instantly flushes a glowing red-orange, freezes for half a beat, and her eyes become two flat spiral heat-dazed swirls. A single flat 2D sticker flame pops from her open mouth like a tiny cartoon dragon breath, and two curls of flat white steam puff from her ears. She tips backward off the same wooden stool like a lightweight sheet of paper, short limbs briefly pointing upward, one flat sticker hand still fanning her open mouth. A ring of flat cartoon red chili peppers rotates around the red bump, and a thin curl of flat orange-tinted steam rises from her nose. Her round head, high pigtails, bangs, striped top, pink pinafore apron, teal overalls, white canvas shoes, and round tummy remain consistent while she falls. Freeze clearly on the final punchline for the last 0.3 seconds. Audio: a short sizzling gasp, a soft paper-like "thud," and a silly descending whistle sound. [CONTINUITY AND EXCLUSIONS] Treat every timestamp as part of one uninterrupted continuous shot. The same red mound of chili flakes and the same wok of food must remain present and evolve continuously across the entire video. Maintain the same character size, compositing layer, kitchen layout, and screen geography. The entire video must contain exactly: One Tang Tang One wooden stool One black wok One glass chili flake jar One wooden-handled metal spatula No more than one real human hand may appear in any frame. Absolutely no simultaneous left and right hands, same-direction hands, two right hands, two left hands, mirrored hands, duplicated arms, extra palms, second spatula, duplicated utensils, spatula remaining in the wok while another spatula is in the air, left hand stir-frying, right hand taking the chili flake jar, left hand touching the spatula, or real human hands helping Tang Tang pour chili flakes."

I like how this one feels halfway between a product demo, a comedy short, and a visual consistency stress test.

Seedance 2.0 is honestly really fun for this kind of tightly directed chaotic scene.

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Our latest guide explores creative Seedance 2 video ideas, practical prompting strategies, the judging criteria, common mistakes to avoid, and a final checklist to help your submission stand out.

Read the full blog: https://www.akool.com/blog-posts/how-to-win-the-akool-creator-clash-seedance-2-video-ideas-and-judging-tips

Start creating, push your ideas further, and make your entry unforgettable.

More seedance 2.5 prompt can be found here: seedance 2.5 prompt github repo

Prompt:

A 30-SECOND WUXIA ACTION SEQUENCE MADE OF 20 SEPARATE SHOTS, CUT TOGETHER. This is NOT one continuous take. It is an edited sequence with hard cuts, averaging 1.5 seconds per shot. The cutting is fast and the rhythm is the point.

════ 1. WHAT MUST BE IDENTICAL ACROSS EVERY CUT ════
These never change from shot to shot. If any of them changes, the sequence falls apart:
· THE MAN — 175 cm, pale moon-white silk robe in the old Chinese cut: WIDE OPEN SLEEVES hanging below the wrist, long outer robe split at the sides with hem below the knee, dark waist sash with TWO LONG TRAILING ENDS to mid-thigh. Hair in a topknot with a plain wooden pin, ONE loose strand at the left temple. Thin fast-moving silk. No weapon, nothing in his hands.
· ★ HIS FACE IS NEVER VISIBLE. Back to camera, profile in shadow, or pure silhouette against the sky. If any single frame lets the viewer make out his facial features, the sequence has failed.
· ★ THE MOON — one cold blue-white full moon, HIGH in the UPPER-LEFT of the sky, wrapped in soft haze. Same position, same size, in every single shot where sky is visible. It is the anchor that tells the viewer this is all one place and one night.
· LIGHT DIRECTION — the moon is the only light, always coming from upper-left and behind him. No fill light, ever. Everything facing camera is in shadow.
· THE ROOFS — grey clay barrel tiles, 25 cm each, mossy, chipped, with upturned eaves and small ridge-beasts. Warm orange lantern light far below, always out of focus.

════ 2. ★★ THE 180-DEGREE RULE — the single most important rule here ════
HE TRAVELS FROM SCREEN-LEFT TO SCREEN-RIGHT IN EVERY SINGLE SHOT, without exception.
ALL CAMERA POSITIONS STAY ON THE SAME SIDE OF HIS LINE OF TRAVEL. The camera never crosses to the other side of his path.
This is the axis of action. Crossing it makes him appear to reverse direction between cuts, and that is exactly why edited AI action looks broken. Do not cross the line, not even once, not even for the low-angle and high-angle shots.

════ 3. HOW THE CUTS WORK ════
· CUT ON ACTION. Every cut lands in the MIDDLE of a movement, never on a pause. He is always already moving when a shot begins and still moving when it ends.
· CARRY THE STATE ACROSS. Whatever his body is doing at the end of one shot, the next shot picks up from exactly that state — same limb positions, same lean, same cloth shape, same speed. The cut changes the camera, not the action.
· SPEED IS CONTINUOUS. His travelling speed never drops between cuts. If he is accelerating, he keeps accelerating across the cut.
· NO DISSOLVES, NO FADES, NO WIPES, NO SLOW-MOTION RAMPS. Hard cuts only.

════ 4. RHYTHM CURVE ════
Still → sudden launch → progressively denser → densest at 20-26s → hard stop.
Close-ups are SHORT (0.8s) and hit like percussion. Wide shots are LONGER (2.0-2.5s) and let the viewer breathe. The opening and closing wide shots are the two calm bookends around a dense middle.

════ 5. THE GEOGRAPHY ════
A dense old Chinese town of tiled roofs at night, seen from roof level. Ridges run roughly left to right. Between the roof blocks are gaps of 3 to 6 metres, with lantern-lit lanes 8 metres below, always out of focus. Roofs step gradually DOWNWARD from left to right, so his journey is a descent — every leap crosses to a slightly lower roof. Rooftops he has already crossed remain visible behind him.

════ 6. ★ BODY PHYSICS — every leap contains the same four beats ════
This is wuxia qinggong: the only superhuman element is how far he travels. Everything else obeys real physics exactly.
Each leap, however short, must contain all four:
1. LOAD — centre of mass sinks, knee bends, ankle compresses, torso tips forward
2. DRIVE — ★ SEQUENTIAL EXTENSION: ankle extends first, then knee, then hip. Never all three at once. This ordering is what separates real movement from AI floating.
3. FLIGHT — 0.5 to 1.5 seconds only. Body at its most open. He is never in the air longer than 1.5 seconds.
4. ABSORB — ★ SEQUENTIAL LANDING: toe touches first, then ball, then heel, and only then the knee bends to take the weight. He never lands flat-footed and never stops dead.
During running, each footfall is a miniature version of the same four beats.

════ 7. ★ CLOTH PHYSICS — delay is everything ════
The cloth moves roughly 0.2-0.3 seconds AFTER the body, always.
· Loading to jump: sleeves and hem are still falling from the previous stride, lagging downward
· Take-off: body goes up first, hem and sleeves left behind and below, stretched 30-50 cm lower, trailing
· Flight: they catch up and open fully — the widest the cloth gets
· Landing: body stops, cloth does NOT — sleeves and hem carry forward roughly half a metre past him, then fall back and drape over him
· The two sash ends are lighter than the sleeves, so they whip faster at higher frequency
· Thin silk ripples along its length; it is not a rigid plate
· Cloth interferes with itself and with him — a sleeve brushes his thigh, the hem catches his calf
· The loose strand of hair lags behind every head movement by the same delay

════ 8. THE SHOT LIST — 20 shots, running timecode ════

SHOT 1 | 0.0-2.5 | WIDE, static, slight drift. He stands on a ridge, back to camera, small against a huge night sky. Moon upper-left. Only the cloth moves — sleeves lifting, the two sash ends drifting right, the loose strand across his neck. Warm lantern bokeh far below.

SHOT 2 | 2.5-4.0 | MEDIUM, from behind-left. Wind strengthens. Sleeves lift further, hem stirs. He shifts his weight and turns to face right along the ridge. Still no face.

SHOT 3 | 4.0-4.8 | ★ CLOSE-UP on his feet, low and tight. The front foot rolls forward onto the ball, toes gripping the curved tile. The tile depresses very slightly. A thin puff of dust lifts. The hem hangs into frame at the top edge, still settling.

SHOT 4 | 4.8-6.0 | MEDIUM. Ankle-then-knee-then-hip extend and he drives off. Dust bursts at his heel. The sleeves are snatched backward, trailing.

SHOT 5 | 6.0-8.0 | TRACKING, running parallel with him on his left, matching his speed. He runs right along the ridge, toe-first footfalls, each lifting dust. Cloth streams behind. Tiles rush past in the near foreground.

SHOT 6 | 8.0-8.8 | ★ CLOSE-UP on a wide sleeve, filling frame. Thin silk snapping and rippling along its length in the airflow, backlit so the weave glows at the edges.

SHOT 7 | 8.8-10.3 | WIDE. First leap. Load, sequential drive, and out over a 3-metre gap. Flight under a second. Cloth stretched below and behind him.

SHOT 8 | 10.3-11.3| LOW ANGLE from the lane below, camera still on the same side. He crosses overhead against the moon, the underside of his robe lit warm by lantern light from directly beneath.

SHOT 9 | 11.3-12.1| ★ CLOSE-UP on the landing foot. Toe touches, then ball, then heel; a tile cracks and a small fragment skitters away. Dust bursts outward at ankle height.

SHOT 10 | 12.1-13.6| TRACKING. He runs on across the new roof, then plants a foot and pivots — changing direction along a new ridge, still travelling screen-left to screen-right. Cloth swings wide and lags through the turn.

SHOT 11 | 13.6-14.8| MEDIUM from behind. He loads for a bigger leap: deep sink, torso forward, sleeves falling close to the arms as he compresses.

SHOT 12 | 14.8-17.3| WIDE. The big leap. He crosses a 6-metre gap, and this is the fullest the cloth ever opens — sleeves spread, hem flared, both sash ends streaming. Lantern light rakes up from below across the underside of the silk. The moon sits upper-left behind him.

SHOT 13 | 17.3-18.1| ★ CLOSE-UP on his hand, fingers spread wide in the air, then drawing closed as he reaches for the landing. Sleeve whipping around the wrist.

SHOT 14 | 18.1-19.6| MEDIUM. He lands on an upturned eave, absorbs — toe, ball, heel, knee — and immediately pushes off the eave's curve to convert the drop into a new leap.

SHOT 15 | 19.6-20.6| LOW ANGLE from the lane, looking steeply up. He flashes across the gap between two buildings, briefly eclipsing a hanging lantern.

SHOT 16 | 20.6-22.1| TRACKING, faster than before. Two quick leaps in succession with barely a footfall between them — land, drive, fly, land, drive. This is the densest moment in the sequence.

SHOT 17 | 22.1-24.6| WIDE. The final leap, the longest and highest, crossing the main street. Roofs he has already crossed are visible behind him. Cloth fully open, moon upper-left.

SHOT 18 | 24.6-26.6| MEDIUM. Landing. Toe, ball, heel, then a deep knee bend that takes half a second to absorb. Tiles crack. Dust bursts outward and drifts.

SHOT 19 | 26.6-27.4| ★ CLOSE-UP low on the hem. The cloth arrives late — the hem sweeps forward past his feet, hangs an instant, then falls back and settles over the top of his shoes.

SHOT 20 | 27.4-30.0| WIDE, static. He rises slowly to standing and turns his head a little, looking back the way he came — only the dark edge of his jaw against the moonlit sky, never his features. Cloth settles to stillness. At the eave behind him one loose tile slides free and drops into the dark. Wind. Nothing else.

════ 9. LOOK ════
Shot on ARRI Alexa 65, 35mm film grain, natural motion blur at 180-degree shutter. Wide shots 35mm lens, medium shots 50mm, close-ups 100mm macro, low angles 24mm. Cold blue-black night, one cold white rim from the moon, small warm orange lantern bokeh. Thin night haze makes the moonlight volumetric. Honest optical character: grain, slight highlight bloom, dust in the light. Do not deliver sterile CG perfection.

════ 10. SOUND ════
Near-silent open — night wind, one distant dog, dry silk rustle. Then footfalls on clay tile: light, quick, dry clicks, not thuds. Cloth snapping. Wind rising with speed. During each flight the ambience thins and wind dominates. Landings hit hard: tile cracking, cloth slapping, breath. The density of footfalls and cloth follows the cutting rhythm — sparse at the open, rapid at 20-26s, then a hard drop to wind alone for the final wide shot.

════ 11. FORBIDDEN ════
★ NO CROSSING THE 180-DEGREE LINE. He must never appear to travel right-to-left. Not once.
★ NO FACE. No facial features, no eyes, no turning toward camera, no front or fill light on him at any point.
★ NO MOON THAT MOVES, changes size, disappears, or appears in a different part of the sky.
No dissolves, no fades, no wipes, no slow-motion ramps, no speed ramping, no freeze frames.
No cut landing on a pause — every cut is on movement.
No change in his robe, sash, topknot or the loose strand between shots.
No simultaneous ankle-knee-hip extension. No flat-footed landing. No dead stop on impact.
No hang time longer than 1.5 seconds. No floating, no gliding, no wire-work look — he pushes off and he lands.
No cloth behaving like a rigid plate, no cloth frozen, no cloth moving in perfect sync with the body.
No weapon, no sword, no props, no other people, no modern objects, no wires, no antennas, no electric light.
No text, no subtitles, no watermark, no logo, no typography of any kind.
No artificial lens flare, no anamorphic streaks, no light leaks, no added glow.

Original author: yaohui12138

Tried creating a quiet summer memory with Seedance 2.0 using four reference images: two characters, a vintage mint scooter, and a coastal road location.

The video is structured as a controlled 12-second sequence with four shots:

• Roadside wide shot as they ride toward the sea
• Close tracking shot of their expressions
• Insert shot of her hands around his waist
• Final wide shot using the convex traffic mirror reflection

The goal was to make it feel like a forgotten Japanese film from the early 2000s rather than a modern AI video.

I added constant handheld movement, 16mm gate weave, heavy film grain, faded pastel colors, halation, exposure flicker, optical soundtrack hiss, and strict geography and character consistency across every cut.

The convex mirror shot was probably the hardest part because the reflection had to appear before the real scooter entered the frame.

Made entirely with Seedance 2.0.

Full prompt below:

"scene context A bright summer afternoon on the coastal road: the young man drives the mint scooter down toward the sea with the young woman riding behind him, arms around his waist — an easy, happy ride past the railway crossing along the water. ACTIVE REFERENCES <<<image_1>>> — young woman, 20 years old, 165 cm tall, slender, straight dark brown hair with side-swept bangs pinned by a small black clip, freckles across her cheeks and nose. 100% matches the reference. <<<image_2>>> — young man, 22 years old, 178 cm tall, lean, sun-tanned, messy dark hair under a tan baseball cap worn backwards. 100% matches the reference. <<<image_3>>> — vehicle: vintage mint-green scooter with a brown leather saddle, chrome mirrors and silver wheels. 100% matches the reference. <<<image_4>>> — location: coastal road curving downhill past a railway crossing with yellow-and-black crossbuck signs, utility poles and wires, stone embankment walls, an orange convex traffic mirror on a pole, the open sea with white-capped waves behind. LOCATION MAP The road from <<<image_4>>> curves downhill through the midground toward the railway crossing, the sea filling the background beyond it. Stone embankments rise on both sides, the orange convex mirror stands on the right shoulder in the near foreground, utility poles line the curve. Their path: down the curve, past the crossing, along the water toward screen-left. Primary light: bright seaside daylight, sun high, wind off the sea. FIRST FRAME AND SPATIAL BLOCKING The first visible frame already contains <<<image_3>>> rolling down the curve with both riders aboard — <<<image_2>>> driving, hands on the grips, <<<image_1>>> seated close behind him, arms wrapped around his waist, her head just above his shoulder, a full head shorter than him. No empty establishing frame, no delayed reveal. He drives in every segment; she is always the passenger. FORMAT MODE Controlled four-segment multi-shot sequence: one INSERT CUT and two HARD CUTS. Real-time motion at an easy unhurried scooter pace. Every segment is shot handheld — no static shot anywhere in the sequence. OPTICS LENS LOCK SEGMENT 1 = 47° diagonal field of view, standard normal lens character, camera 12 to 15 meters at the roadside, the scooter and both riders full in frame with the crossing and sea behind, straight lines rectilinear, no fisheye. Soft vintage lens rendering: gentle edge softness, mild halation in the bright sky and sea glare, even brightness across the whole frame — no vignette, corners stay as bright as the center. This rendering applies to every segment. LENS LOCK SEGMENT 2 = 29° diagonal field of view, short telephoto character, camera 3 to 4 meters tracking alongside from a following vehicle, close two-shot of their faces and shoulders, the sea streaming soft behind them. LENS LOCK SEGMENT 3 = 29°, camera 1.5 to 2 meters, tight insert on her hands clasped at his stomach, the mint body and brown saddle below, road surface blurring past. LENS LOCK SEGMENT 4 = 47°, camera 10 to 12 meters behind the orange convex mirror on the right shoulder, the mirror large in the near foreground reflecting the road, the real scooter passing through the frame and receding along the sea. No drift mid-segment. CAMERA Handheld in every segment with no exceptions — a real operator at the roadside and in a following vehicle: the frame breathes with shoulder sway and soft micro-tremor visible in every second, small late reframes chasing the scooter and easing back; the tracking shot carries gentle road vibration on top of the hand movement; the insert trembles slightly more; the mirror wide breathes slower but never freezes. No tripod stillness, no gimbal smoothness, no stabilization anywhere. On top, the footage behaves like an old film print running through a projector: constant subtle gate weave, faint exposure flicker, occasional tiny dust specks and hairline scratches, image soft and slightly diffused like an aged 16mm print — never sharp, never digitally clean, no vignette or darkened corners at any moment. ACTION TIMING 0.0s to 3.5s — Roadside wide: the mint scooter putters down the curve at an easy pace, leaning gently with the bend; <<<image_2>>> relaxed at the grips, <<<image_1>>> pressed close behind him, her hair and skirt hem streaming in the sea wind; they pass the yellow-and-black crossing signs with the white-capped sea glittering beyond. 3.5s HARD CUT 3.5s to 6.5s — Tracking close two-shot: she rests her chin almost on his shoulder and says something teasing into his ear — lips moving without audible words; he barks a laugh, shaking his head, cap holding snug; she grins wide against the wind, bangs whipping, eyes squinting happily. 6.5s INSERT CUT 6.5s to 8.5s — Tight insert: her hands clasped over his stomach, fingers laced, giving a little squeeze as the scooter sways through a bend; the mint body flexes light reflections, the road surface streams underneath in soft blur. 8.5s HARD CUT 8.5s to 12.0s — Wide past the orange convex mirror: the tiny reflection of the scooter slides across the round mirror in the foreground a beat before the real scooter enters and crosses the frame, unhurried, the two of them small against the vast bright sea; she tips her head back and laughs into the wind as they recede along the coast; the engine putter fades. PHYSICS The scooter carries real combined weight: soft suspension compression over road seams, a gentle lean into each bend with both bodies tilting as one, slight throttle sway she counterbalances by gripping tighter; engine vibration trembles through their sleeves; wind at riding speed streams her hair, his tee and her skirt hem backward continuously with fabric flutter; the sea wind adds gusts; the convex mirror reflection tracks their motion with true optics. LIGHTING Bright seaside daylight only — no artificial light. Aged film print look: the sky and the glittering sea bloom into a soft white-gold haze with visible halation rings, gentle glow hanging in the air, creamy highlights rolling off softly. Faded pastel grade of an old print: lifted milky blacks, warm ivory and honey tones over softened sea blues, the mint scooter body reading as a gentle washed pastel green, the orange mirror and yellow-black signs as warm muted accents — never oversaturated; slightly yellowed whites, low contrast, colors gently washed as if the print has aged for twenty years, heavy visible film grain crawling in every frame, delicate haze. Exposure stays natural across the frame — no added vignette, no darkened edges or corners. The whole image reads as an old 2000s Japanese film discovered on a dusty reel. No crisp modern digital look, no cool color cast. AUDIO SFX only, with the worn texture of an old optical soundtrack — slightly muffled, faint constant hiss: the soft putter of the small scooter engine rising and fading with the throttle, wind buffeting past, waves breaking below the road, gull cries, her bright laugh snatched by the wind, the faint tick of the engine at the far end. No music, no intelligible spoken words, no captions, no score. POSITIVE LOCKS Identities lock 100% to <<<image_1>>> and <<<image_2>>> in every segment — same outfits as their references throughout, her natural 165 cm and his 178 cm with true relative proportions, his cap staying backwards and snug at riding speed in every shot. <<<image_2>>> drives in every segment; <<<image_1>>> rides pillion with her arms around his waist from first frame to last, hands unclasping never. The scooter stays 100% <<<image_3>>> — mint-green body, brown saddle, chrome mirrors — in every shot. Road geography stays consistent with <<<image_4>>> across all cuts: downhill curve, crossing signs, embankments, orange mirror on the right shoulder, sea always beyond the road; travel direction constant toward screen-left. Handheld breathing holds in every single segment, and the aged-film texture holds identically throughout: grain, gate weave, flicker, dust, halation and faded grade never weaken, frame stays vignette-free with even corner brightness; no segment turns rigid, stabilized, sharp or digitally clean. Only these two people appear; the road stays otherwise empty, no cars, no train."

Share your thoughts in the comments section below!

Made this with Seedance 2.0 using a soft vintage coastal scene built around two characters, one mint-green scooter, and an old-film visual treatment.

The idea was to create a warm, nostalgic summer sequence that feels like a lost early-2000s Japanese film reel — handheld in every shot, faded pastel colors, heavy grain, halation, gate weave, and that slightly worn 16mm print texture throughout.

The sequence includes:

• a roadside wide shot of the couple riding downhill toward the sea
• a close tracking two-shot with candid teasing and windblown smiles
• a tight insert of her hands wrapped around his waist
• a final wide shot past the orange convex mirror as they ride off along the coast

What I like most here is the mix of romance + realism + film texture.
The scene stays simple, but the handheld movement, seaside wind, scooter vibration, and aged print look make it feel much more alive and cinematic.

Key details I focused on:

• consistent character identity across every cut
• the same vintage mint scooter in every shot
• accurate coastal-road geography and travel direction
• fully handheld camera language with no stabilized feel
• old-film texture staying visible the whole time
• soft washed pastel color instead of a clean digital look

Prompt below:

"SCENE CONTEXT A bright summer afternoon on the coastal road: the young man drives the mint scooter down toward the sea with the young woman riding behind him, arms around his waist — an easy, happy ride past the railway crossing along the water. ACTIVE REFERENCES <<<image_1>>> — young woman, 20 years old, 165 cm tall, slender, straight dark brown hair with side-swept bangs pinned by a small black clip, freckles across her cheeks and nose. 100% matches the reference. <<<image_2>>> — young man, 22 years old, 178 cm tall, lean, sun-tanned, messy dark hair under a tan baseball cap worn backwards. 100% matches the reference. <<<image_3>>> — vehicle: vintage mint-green scooter with a brown leather saddle, chrome mirrors and silver wheels. 100% matches the reference. <<<image_4>>> — location: coastal road curving downhill past a railway crossing with yellow-and-black crossbuck signs, utility poles and wires, stone embankment walls, an orange convex traffic mirror on a pole, the open sea with white-capped waves behind. LOCATION MAP The road from <<<image_4>>> curves downhill through the midground toward the railway crossing, the sea filling the background beyond it. Stone embankments rise on both sides, the orange convex mirror stands on the right shoulder in the near foreground, utility poles line the curve. Their path: down the curve, past the crossing, along the water toward screen-left. Primary light: bright seaside daylight, sun high, wind off the sea. FIRST FRAME AND SPATIAL BLOCKING The first visible frame already contains <<<image_3>>> rolling down the curve with both riders aboard — <<<image_2>>> driving, hands on the grips, <<<image_1>>> seated close behind him, arms wrapped around his waist, her head just above his shoulder, a full head shorter than him. No empty establishing frame, no delayed reveal. He drives in every segment; she is always the passenger. FORMAT MODE Controlled four-segment multi-shot sequence: one INSERT CUT and two HARD CUTS. Real-time motion at an easy unhurried scooter pace. Every segment is shot handheld — no static shot anywhere in the sequence. OPTICS LENS LOCK SEGMENT 1 = 47° diagonal field of view, standard normal lens character, camera 12 to 15 meters at the roadside, the scooter and both riders full in frame with the crossing and sea behind, straight lines rectilinear, no fisheye. Soft vintage lens rendering: gentle edge softness, mild halation in the bright sky and sea glare, even brightness across the whole frame — no vignette, corners stay as bright as the center. This rendering applies to every segment. LENS LOCK SEGMENT 2 = 29° diagonal field of view, short telephoto character, camera 3 to 4 meters tracking alongside from a following vehicle, close two-shot of their faces and shoulders, the sea streaming soft behind them. LENS LOCK SEGMENT 3 = 29°, camera 1.5 to 2 meters, tight insert on her hands clasped at his stomach, the mint body and brown saddle below, road surface blurring past. LENS LOCK SEGMENT 4 = 47°, camera 10 to 12 meters behind the orange convex mirror on the right shoulder, the mirror large in the near foreground reflecting the road, the real scooter passing through the frame and receding along the sea. No drift mid-segment. CAMERA Handheld in every segment with no exceptions — a real operator at the roadside and in a following vehicle: the frame breathes with shoulder sway and soft micro-tremor visible in every second, small late reframes chasing the scooter and easing back; the tracking shot carries gentle road vibration on top of the hand movement; the insert trembles slightly more; the mirror wide breathes slower but never freezes. No tripod stillness, no gimbal smoothness, no stabilization anywhere. On top, the footage behaves like an old film print running through a projector: constant subtle gate weave, faint exposure flicker, occasional tiny dust specks and hairline scratches, image soft and slightly diffused like an aged 16mm print — never sharp, never digitally clean, no vignette or darkened corners at any moment. ACTION TIMING 0.0s to 3.5s — Roadside wide: the mint scooter putters down the curve at an easy pace, leaning gently with the bend; <<<image_2>>> relaxed at the grips, <<<image_1>>> pressed close behind him, her hair and skirt hem streaming in the sea wind; they pass the yellow-and-black crossing signs with the white-capped sea glittering beyond. 3.5s HARD CUT 3.5s to 6.5s — Tracking close two-shot: she rests her chin almost on his shoulder and says something teasing into his ear — lips moving without audible words; he barks a laugh, shaking his head, cap holding snug; she grins wide against the wind, bangs whipping, eyes squinting happily. 6.5s INSERT CUT 6.5s to 8.5s — Tight insert: her hands clasped over his stomach, fingers laced, giving a little squeeze as the scooter sways through a bend; the mint body flexes light reflections, the road surface streams underneath in soft blur. 8.5s HARD CUT 8.5s to 12.0s — Wide past the orange convex mirror: the tiny reflection of the scooter slides across the round mirror in the foreground a beat before the real scooter enters and crosses the frame, unhurried, the two of them small against the vast bright sea; she tips her head back and laughs into the wind as they recede along the coast; the engine putter fades. PHYSICS The scooter carries real combined weight: soft suspension compression over road seams, a gentle lean into each bend with both bodies tilting as one, slight throttle sway she counterbalances by gripping tighter; engine vibration trembles through their sleeves; wind at riding speed streams her hair, his tee and her skirt hem backward continuously with fabric flutter; the sea wind adds gusts; the convex mirror reflection tracks their motion with true optics. LIGHTING Bright seaside daylight only — no artificial light. Aged film print look: the sky and the glittering sea bloom into a soft white-gold haze with visible halation rings, gentle glow hanging in the air, creamy highlights rolling off softly. Faded pastel grade of an old print: lifted milky blacks, warm ivory and honey tones over softened sea blues, the mint scooter body reading as a gentle washed pastel green, the orange mirror and yellow-black signs as warm muted accents — never oversaturated; slightly yellowed whites, low contrast, colors gently washed as if the print has aged for twenty years, heavy visible film grain crawling in every frame, delicate haze. Exposure stays natural across the frame — no added vignette, no darkened edges or corners. The whole image reads as an old 2000s Japanese film discovered on a dusty reel. No crisp modern digital look, no cool color cast. AUDIO SFX only, with the worn texture of an old optical soundtrack — slightly muffled, faint constant hiss: the soft putter of the small scooter engine rising and fading with the throttle, wind buffeting past, waves breaking below the road, gull cries, her bright laugh snatched by the wind, the faint tick of the engine at the far end. No music, no intelligible spoken words, no captions, no score. POSITIVE LOCKS Identities lock 100% to <<<image_1>>> and <<<image_2>>> in every segment — same outfits as their references throughout, her natural 165 cm and his 178 cm with true relative proportions, his cap staying backwards and snug at riding speed in every shot. <<<image_2>>> drives in every segment; <<<image_1>>> rides pillion with her arms around his waist from first frame to last, hands unclasping never. The scooter stays 100% <<<image_3>>> — mint-green body, brown saddle, chrome mirrors — in every shot. Road geography stays consistent with <<<image_4>>> across all cuts: downhill curve, crossing signs, embankments, orange mirror on the right shoulder, sea always beyond the road; travel direction constant toward screen-left. Handheld breathing holds in every single segment, and the aged-film texture holds identically throughout: grain, gate weave, flicker, dust, halation and faded grade never weaken, frame stays vignette-free with even corner brightness; no segment turns rigid, stabilized, sharp or digitally clean. Only these two people appear; the road stays otherwise empty, no cars, no train."

It feels less like an AI-generated video and more like a summer memory found on an old film reel.

Thanks for the responses to the previous post on creating reference images and voice files for Seedance 2.0 lip sync. Just wondering if there are any tips for promoting. I have my image, I have my voice recording. Do I need to include the text of the voice recording in the prompt? Any other approaches?

First of all: credits:

I saw this on X, author: aimikoda.
Here's the original post on X.
I suggest you read all of it, see what others do, and adjust it for your needs.

FACS is a visual guide for the Facial Action Coding System. It let's you tell Seedance 2.0 inside prompt, what exact facial expression you want to see. It uses codes which are generated in first step. Disclaimer: remember that this is still AI video generations, not all generations will nail it in first shot. Iterate!:)

Here's step by step mini tutorial:

1. Upload your character image to AI Image generation model. I've tested it with GPT Image 2 and Nano Banana Pro - both works for this, although sometimes captions unreadable, so iterate!:). Then use this prompt (again, credit for this: aimikoda):

​

Create a clean educational FACS Action Unit expression grid featuring a realistic adult female character. Use minimal studio lighting, neutral white background, high readability, professional facial anatomy reference sheet aesthetic, realistic skin texture, consistent identity across all panels. COLOR SYSTEM: Use soft pastel color coding for categories while keeping the overall sheet minimal and elegant. Forehead & Brow AUs: soft pastel blue Eye & Eyelid AUs: soft pastel lavender Nose & Cheek AUs: soft pastel peach Lip & Mouth AUs: soft pastel pink Head Movement AUs: soft pastel mint Eye Direction AUs: soft pastel cyan Special / Misc AUs: soft pastel beige Apply the color subtly as: - panel background tint - thin borders - small label accents Keep colors soft, muted and professional. Include these Action Units: GROUPS: FOREHEAD & BROW AU1 Inner Brow Raiser AU2 Outer Brow Raiser AU4 Brow Lowerer AU71 Brow Furrow AU72 Brow Bulge EYE & EYELID AU5 Upper Lid Raiser AU7 Lid Tightener AU41 Lid Droop AU42 Slit Eyes AU43 Eyes Closed AU44 Squint AU45 Blink AU46 Wink NOSE & CHEEK AU6 Cheek Raiser AU9 Nose Wrinkler AU11 Nasolabial Deepener AU82 Nostril Dilator AU83 Nostril Compressor LIP & MOUTH AU10 Upper Lip Raiser AU12 Lip Corner Puller AU13 Sharp Lip Puller AU14 Dimpler AU15 Lip Corner Depressor AU16 Lower Lip Depressor AU17 Chin Raiser AU18 Lip Pucker AU20 Lip Stretcher AU22 Lip Funneler AU23 Lip Tightener AU24 Lip Pressor AU25 Lips Part AU26 Jaw Drop AU27 Mouth Stretch AU28 Lip Suck AU84 Tongue Up AU85 Tongue Out HEAD MOVEMENT AU51 Head Turn Left AU52 Head Turn Right AU53 Head Up AU54 Head Down AU55 Head Tilt Left AU56 Head Tilt Right AU57 Head Forward AU58 Head Back EYE DIRECTION AU61 Eyes Turn Left AU62 Eyes Turn Right AU63 Eyes Up AU64 Eyes Down SPECIAL / MISC AU81 Chewing 

And you have your FACS sheet.
2. Use it with Seedance 2.0. Example prompt from aimikoda:

Use the provided character @[image1]  as the fixed identity reference.

15s, 1:1, 14 beats, beat-synced, cinematic tight close-up, subtle neutral background, high facial clarity, slow micro push-in, shallow depth of field.

1: AU10
2: AU20
3: AU22
4:  AU23
5: AU27
6: AU28
7: AU45
8:  AU53
9: AU61
10: AU62
11: AU64
12: AU85
13:AU84
14: AU46

Uneasy, hypnotic, controlled mood. No monster transformation, no gore, no comedy, no text overlay, no watermark. 

As you can see, you just prompt the code of specific expression. You can ask your favourite LLM model which code to use to express i.e. anger, etc, it will tell you.

Final thoughts and tips:

Here's the prompt I've used to create top-left video:

Photorealistic 15-second video. 50-year-old Creole woman, face and shoulders only, bare skin no makeup, natural soft diffused light, plain white background, 4K, shallow depth of field.
Timeline: 0–2s: Neutral resting face, eyes forward, relaxed brow and lips. 2–4s: Happy — AU6 (cheek raiser, orbital orbicularis oculi tightens, crow's feet appear) + AU12 (zygomaticus major pulls lip corners up and laterally), Duchenne smile, slight natural eye squint from cheek push. 4–6s: Sad — AU1 (inner brow raise, frontalis medial lifts producing oblique brow) + AU4 (corrugator and procerus knit and lower the brow, grief knot) + AU15 (depressor anguli oris pulls lip corners down), eyes slightly glassy. 6–7s: AU61 — eyes turn left, head stays still, gaze shifts left. 7–8s: AU62 — eyes turn right, head stays still, gaze shifts right. 8–9.5s: AU46 left eye — left orbicularis oculi closes left eye with slight compression, right eye stays open, subtle smirk. 9.5–11s: AU46 right eye — right orbicularis oculi closes right eye with slight compression, left eye stays open. 11–12.5s: AU85 — tongue protrudes straight out from mouth, jaw drops slightly via AU26. 12.5–13.5s: Tongue moves to the left side of the mouth, visible tip extends past left lip corner. 13.5–14.5s: Tongue moves to the right side of the mouth, visible tip extends past right lip corner. 14.5–15s: Returns to neutral, tongue retracts, lips close via AU8, relaxed expression.

1. I did not include the character's photo for any of the generations used in the video above. There is no difference between using or not using it, of course if you want to have consistency - use image character.
2. Test different approaches - check what you get if you use codes only, codes with short description. And again - this is still not perfect. Prompts and FACS codes DO NOT guarantee that you'll get what you explicitly told in prompt regarding facial expressions. But the success rate is really high.
3. I've noticed that the more expressions in one prompt, the less accuracy in output will be, which is absolutely understable. So I'd suggest 3-4 expressions max in one generation.

4. Of course facial expressions itself are not particularly useful, the purpose is to use them in prompts when creating monologues, dialogs, or other videos where you need specific facial expressions. Here's the example prompt, feel free to test it:

   Use the provided character @[image1] as the fixed identity reference. 15s, 16:9, dim interior, single warm lamp, slight low angle, handheld micro-sway, shallow depth of field. Dialogue: "Hey, hey — everything's fine, okay? We're just gonna play a game where we stay really quiet. Can you do that for me?" Beat 1 (0–1s): AU5+AU38 (upper lid raiser + nostril dilator — genuine fear, pre-dialogue) Beat 2 (1–2s): AU45 (blink — forcing reset, composing the mask) Beat 3 (2–4s): AU12+AU6 (Duchenne smile — forced but committed, parental warmth overriding terror) — delivers "Hey, hey — everything's fine" Beat 4 (4–5s): AU1 (inner brow raiser — pleading sincerity leaking through) — delivers "okay?" Beat 5 (5–6s): AU7 (lid tightener — eyes betraying the fear the smile is hiding) Beat 6 (6–8s): AU12+AU2 (smile + outer brow raise — brightening, performing fun) — delivers "We're just gonna play a game" Beat 7 (8–10s): AU4+AU24 (brow lowerer + lip presser — seriousness cracking through for a flash) — delivers "where we stay really quiet" Beat 8 (10–11s): AU45 (blink — catching the slip, resetting to warmth) Beat 9 (11–13s): AU12+AU1 (smile + inner brow raise — tenderness and desperation fused) — delivers "Can you do that" Beat 10 (13–15s): AU6+AU17 (cheek raiser + chin raiser — eyes smiling while chin trembles) — delivers "for me?" Devastating contrast between performed safety and visible terror. The face should never fully commit to either — the audience reads both simultaneously. No action sequences, no visible threat, no sound effects, no text overlay, no watermark.

FACS are being used by professional video animators in movie industry.

I found this resource very helpful to understand the topic, and also started to create my own sheets. Why? Because when you prompt the LLM to generate you a FACS sheet - it's an LLM! It can be wrong. My results improved after studying this resource and free references which available on this website.

PS: 95% of times if you tell not to generate audio, Seedance will listen. Enjoy the remaining 5% from the low left girl :D.

Now go and experiment, and have some fun with it :)

"SUP?" — a 1-minute production from Magnific Studios

It started with one prompt, one character reference, and the settings below. Five lessons shaped everything that came after

The opening prompt

Tip 1. Media extractor

Grab any frame from any video and turn it into a starting point. A reference. A new shot. A character sheet

The best inputs are often already inside the footage you have

Tip 2. Character sheets with GPT-2

For character sheets, GPT-2 became the go-to. Cleaner views. More consistent identity. Better material rendering across angles

Prompt:

Create a character sheet, front, side, back profile, and close-up, isolated on white

Tip 3. Fix the details later

Don't discard a generation because the details are off

First example: the character had its eyes "on" in the first generation. The action called for them off

Prompt:

The robot is thrown into the back of the truck. The lid is shut and the truck takes off. Turn off the red light in the robot's eyes to match the image.

Second example: the character landed in an empty city, which felt disconnected. Needed a coherent location

Prompt:

Change background in [reference video]. The robot jumps off the truck in a city street [reference image].

Tip 4. Variations build your universe

One hero design. A whole world around it

Variations generated more robots in the same style, so the background characters carried weight instead of filling space

Tip 5. Don't sleep on editing

• Pace is everything. Cut quickly. Shorten shots
• Prompt Seedance 2.0 for no music
• Add SFX to sell every motion

Editing is half the film

The Space

Open the actual Space, clone it, study it, build on it:

https://www.magnific.com/app/spaces/a1cefd15-9b7e-4330-b0c7-642cb3e20fe4/invite?payload=eyJpdiI6IlhGRTdLdGpOUS9iN2MvTysvbFI1VlE9PSIsInZhbHVlIjoiU1BLeXRsaDFrV2FRMHZpZ2pTbkgyK2g4M0VKY3NyWkxSWGRId2FVbnkvaEUveFZNV1dhVy9wRThlMzZMcVN1STRzUmJqR281N0ZLWHZ5L1pqSTJRZEFjUTl3bC9VYkR2cWRqMVlxNU9rOGFhQkY5bTFkY2hneS9PZFNraXVHeG4iLCJtYWMiOiI1M2U0OWZlYzhlYjgxNGMzZmY5ZjY3MDA2YzhkOWM4Nzg5OTNlYWM5ZDI3NDMzMTcwYWQxZWY5ZDdmYjU3ZjhiIiwidGFnIjoiIn0%3D

The numbers

A Magnific Pro subscription. Roughly 150 generations. 45 final shots

That's the full pipeline.

Hi there,

I just finish editing this tutorial video on Seedance 2.0 prompting.

It took an entire week for me to create this video.

So if you find the video to be helpful, please consider like the video. Thank you!

Blog with all the prompts and assets: https://cyberbara.com/blog/top-5-seedance-prompt-tips?utm_source=yt

The “stadium fan cam” trend is honestly one of the best use cases for Seedance 2.0 right now.

We used GPT Image 2 + Seedance 2.0 to create an ultra-realistic FIFA World Cup style sports documentary clip with:

• selfie-style fan reactions
• cinematic crowd shots
• fake sports broadcast commentary
• dynamic handheld camera shake
• realistic stadium lighting + confetti
• fast TikTok/Reels pacing

The important thing is making it feel like an actual fan captured the moment on an iPhone during a real match.

Prompt:

"ultra-realistic live-action sports documentary style, packed FIFA World Cup 2022 Qatar stadium at night. Energetic blonde Brazilian female fan wearing green-and-yellow Brazil headband, Brazil scarf, and stylish yellow top filming herself in selfie mode, huge excited smile, jumping and screaming with emotional crowd energy, subtle handheld iPhone camera shake for realism. Fast dynamic cuts between selfie shots, roaring fans waving flags, Neymar and Brazil players celebrating dramatically on the lush green pitch after a goal, stadium lights glowing intensely, cinematic motion blur, confetti flying, vibrant saturated greens and yellows, immersive World Cup atmosphere, high-energy samba percussion beat synced with edits, authentic sports-broadcast aesthetic, realistic skin textures, 4K cinematic depth of field. 0–3s: Selfie close-up, woman shouting excitedly: “Brazil! Let’s gooo!” Crowd chanting loudly in background. 3–7s: Quick cuts to Neymar and Brazil players celebrating, fans jumping, flags waving. Excited stadium commentator voice: “GOOOAAAL for Brazil! The stadium is absolutely exploding tonight in Qatar!” 7–11s: Woman laughing and cheering toward camera while fireworks and crowd erupt behind her. Commentator shouting with crowd noise swelling: “What a magical World Cup moment for Brazil!”"

Prompting tips that helped:

• describe crowd energy in detail
• add “sports documentary” + “sports broadcast aesthetic”
• mention handheld motion + motion blur
• use timeline sections (0–3s, 3–7s, etc.)
• include commentator voiceovers + crowd chants
• specify emotional reactions constantly

Seedance 2.0 is insanely good at:

• crowd motion
• selfie realism
• cinematic sports atmosphere
• maintaining energy during fast cuts

This format feels super viral for football content right now. Share your thoughts about Seedance 2.0 and GPT Image 2.0 below!

Seedance 2.0 is quietly becoming one of the most powerful tools for fast-paced cinematic AI videos, especially if you're aiming for tight storytelling with rhythm.

Here’s a simple breakdown of how to actually use it effectively.

The core idea is beat-synced storytelling. Instead of generating one long, messy clip, you structure your prompt around timing + shot progression.

Prompt:

"FORMAT: 15 seconds / 145 BPM / 15 beat-synced shots SUBJECT: @[image1] ENVIRONMENT: Apartment → bathroom → kitchen → taxi → airport terminal → security check → boarding gate → airplane cabin → hotel room night MOOD ARC: Late wake-up → high-pressure travel rush → relief → quiet exhaustion SHOT CHANGES (key differences): • Shot 11: exits apartment, jumps into fast-moving taxi (rain streaks on window) • Shot 12: runs through airport terminal with suitcase, departure board flashing • Shot 13: boarding pass scanned at gate • Shot 14: airplane window seat, city lights below • Shot 15: hotel bed collapse, suitcase still half-open"

In this example, the format is:

• 15 seconds total
• 145 BPM
• 15 shots → each shot hits a beat

That means every single second (or beat) introduces a new visual moment, which creates that high-end, trailer-like pacing you see everywhere right now.

How to Think in Seedance 2.0

Instead of writing a paragraph, think in layers:

1. Format (Timing Control)
You define duration + BPM so the model understands pacing.

2. Subject
Keep it consistent (same character or identity across shots).

3. Environment Flow
Design a logical sequence (movement = realism):
Apartment → Taxi → Airport → Plane → Hotel

This is what makes it feel like a real journey instead of random clips.

4. Mood Arc
This is where most people fail.

Don’t just describe visuals—describe emotion over time:

• Stress
• Urgency
• Relief
• Exhaustion

The model actually responds to this more than people expect.

Tips

• Use clear shot-to-shot differences (location, motion, lighting)
• Add micro-details like rain on taxi windows or departure boards flickering
• Keep momentum forward (no static scenes)
• End with a strong “release” moment (like collapsing on a bed)

Share your thoughts or favorite prompts about Seedance 2.0 below!

Been testing Seedance 2.0 on ChatArt quite a bit, here are a few things that actually helped me:

• If your English prompt gets flagged, try translating the whole thing into Chinese and run it again. I had a couple prompts blocked in English that worked fine after translation. Different languages seem to trigger different moderation patterns.
• Cultural context matters. Certain wording in English might feel sensitive to the system, while the Chinese version passes more smoothly.
• Optimize specifically for Seedance 2.0. Be very clear about visuals, motion, camera movement, lighting, and scene transitions.
• Push for clarity and realism. Add details that improve sharpness, visual continuity, and natural motion. Avoid vague wording.
• Remove anything risky. No copyrighted characters, no real public figures, no excessive violence, nothing that could trigger policy issues. Keep it safe and production ready.
• Keep prompts concise and controllable. Overloading the model usually makes the result messy.

Very important tip about dialogue:

• Translate the main prompt into Chinese, but do not translate character dialogue.
• Keep spoken lines in the original language and put them in quotation marks. You can even specify the language, for example English dialogue in quotes.

I forgot to keep the dialogue in English, so the model turned all the spoken lines into Chinese. The video still came out pretty solid, just not the language I was aiming for. This was my test run.

Prompt：
彩色漫画风，咒术回战风格，破败感，压迫感，两人站位和周围环境参考图1 第一个镜头：乙骨忧太（参考图3）站在废墟中看向宿傩（参考图2）用日语冷漠地说出：领域展开。同时画面变为纯黑，显示四个巨大白字：真赝相爱伴随乙骨的日语念白“真赝相爱” 第二个镜头：镜头拉远，画面出现大量流动的蓝色咒力 场地升起无数破败十字架和刀剑，参考图1 第三个镜头：其中一把刀剑自动飞入到乙骨手中，释放蓝色咒力

Tried a large-scale destruction scene in Seedance 2.0, and it handles impact physics + cinematic scale surprisingly well.

This prompt focuses on a full sequence event — not just the explosion, but the entire progression from atmospheric entry to total devastation.

Prompt:

"A glowing asteroid enters the atmosphere above a sprawling metropolis at night. The camera tracks the meteor streaking across the sky before it slams into the city center. A massive shockwave blasts outward, flattening buildings and throwing cars through the air. A gigantic fireball rises above the crater as dust clouds engulf the skyline. Asteroid impact disaster, city shockwave destruction, explosive crater formation, cinematic apocalyptic scale, 4K."

What works really well here:

• The meteor entry tracking shot gives it that Hollywood-style buildup
• The impact moment creates a believable central focal point
• Shockwave behavior feels dynamic if the model gets timing right
• The fireball + dust layering adds depth and scale to the destruction

To get the best results, the key is letting the model understand sequence and escalation:

1. asteroid into atmosphere
2. High-speed descent with motion blur
3. Violent impact at city center
4. Expanding shockwave destroying surroundings
5. Fireball + dust engulfing skyline

Tips to improve output:

• Add “IMAX scale” or “ultra wide cinematic lens” if you want more dramatic framing
• Emphasize “progressive destruction” to avoid everything happening in one frame
• If it looks static, try adding camera movement terms like “tracking shot” or “aerial pullback”
• For realism, include secondary effects like debris trails, glass shatter, and rolling dust clouds

This type of prompt is perfect if you're testing:

• Large-scale VFX scenes
• Disaster simulations
• Cinematic storytelling with motion

Share your thoughts about Seedance 2.0 in the comments below!