実際の映画から取ったSeedance 2.0および2.5のプロンプト

Wide cinematic drone shot slowly pulling back from the winding country road as the small sedan cruises forward peacefully through rolling autumn hills. Soft morning mist drifts across the landscape. Autumn leaves swirl gently in the breeze. Golden light filters through the haze. Calm, unhurried movement — peaceful and idyllic.

Continuous single shot.
Start frame matches @Aurel's Frozen Gallop 100%.

Locked wide shot.
Maintain the same camera position, composition, focal length, and shot scale throughout.
No push-in, pull-back, pan, tilt, crane movement, or zoom.
The rider and horse move independently from the camera.

The rider and horse maintain a fast gallop along their existing direction across the frozen lake toward the distant tree line.

The horse sustains a natural, powerful gallop. All four legs move through a complete running gait, while its head and neck rise and fall naturally with each stride. Its mane, tail, and tack move with the speed.

The rider leans slightly forward, keeps both hands steady on the reins, and moves naturally with the horse’s galloping rhythm.

The hooves repeatedly strike the thin snow covering the ice, throwing a small amount of fine snow backward and extending faint hoof tracks behind them.

The colossal serpent in the background is a completely frozen corpse and remains absolutely motionless throughout. No breathing, blinking, eye movement, jaw movement, or body movement.

Low fog drifts slowly sideways in front of the serpent. Fine windblown snow skims across the ice.

Continuous low cold wind.
Fast, forceful hoof impacts against the ice and thin snow.
Subtle rein, leather, and tack vibration.
Heavy, rhythmic breathing from the running horse.
No sound from the serpent.
No dialogue.
No background music.

Continuous single shot.

Extremely shaky handheld camera with strong irregular shake and a clear running bounce.
The camera first follows behind the rider and horse, rushing forward through the tree-hole-like passage.
The rider gallops forward. The horse runs in strong continuous strides, and the rider’s body rises and falls with the gallop.
After the camera and rider pass through the tree opening, the camera quickly swings back and slightly upward to look at the enormous ancient tree behind them.
Emphasize the absurd scale of the tree. The trunk and root structure are विशाल, and the upper structure disappears high into dense mist with no visible end.
The mist moves slowly. Moss and hanging vegetation on the tree move slightly in the wind.
No smooth camera movement and no stabilized look.

Natural ambience only.
Only hoofbeats, horse breathing, riding wind, and subtle movement sounds from clothing, armor, and tack caused by the handheld run.
No music. No voiceover.

[00:00] camera booms down on the truck stop at night. a large semi-truck "big rig" drives past camera.

Use the provided close shot as the direct first frame and the provided wide shot as the direct final frame. Create a realistic live-action cinematic shot that performs a smooth continuous dolly back from the first frame to the last frame. Start relatively close on the two gangsters, framed roughly from above the chest upward, then gradually pull back until the shot fully matches the provided wide final frame and reveals the whole restaurant, the hostages, and the right-bottom male victim. Keep the same luxury rooftop restaurant at night, floor-to-ceiling window, city lights outside, warm practical lighting, and premium ARRI Alexa 35 film realism. The male gangster carries a revolver and delivers his line in a calm, cold, threatening Texas drawl: “Everybody cool, this is a robbery.” The female gangster carries a pistol and is more manic, gleeful, and excited by the fear around her; after a man screams, she says in a thick Texas drawl, with deranged enjoyment, “Or everybody dies!” During the pullback, diners around them panic and scream. Near the end of the dolly back, the man in the bottom-right corner of the final wide frame cries out, “Oh my God!” and the female gangster immediately turns and shoots him. After the shot, more people scream. Keep the male gangster emotionally controlled and dangerous; keep the female gangster wild, delighted, and intoxicated by the terror she is causing. No music, no score, only dialogue, screams, gunshot, and natural room tone. Preserve photorealism, true anatomy, realistic gun handling, believable performance, and a continuous smooth camera move from the close first frame to the wide final frame. 无音乐

Opening establishing shot, 16:9, 25 seconds, one continuous uninterrupted take. The shot begins wide on the open countryside of the start frame and slowly transitions to settle on the painting cottage of the end frame.

Camera Movement: Begin with a slow, smooth lateral pan drifting across the countryside, gliding over rolling fields, water, and treelines, letting the landscape reveal itself gradually. After the pan carries across the vista, the camera eases into a gentle, steady push-in that zooms toward the cottage, tightening from a sweeping wide vista down to a composed medium framing of the painting cottage as it comes to rest. The motion is continuous and cinematic throughout, one flowing move with no cuts, never rushed.

Scene: Soft natural daylight, gentle atmospheric depth and haze on the horizon, subtle drifting of grass and leaves in a light breeze, calm water surface with faint ripples. Serene, contemplative, cinematic mood.

Audio Constraint: No sound. Completely silent shot.

Handheld camera in front of Pema, following her as she walks in from the door carrying two empty steel plates. She crosses the room to the wooden dining table and sets the two plates down on it. Warm sunny daylight through the window. Subtle handheld sway and breathing motion. Anamorphic old lens distortion, muted colors, low contrast, soft focus, cinematic realism.

use @VP as the man. Action: close up on the man in a grey room. He says with a commanding gruff voice, "Hi my name is V.P. and this is my voice."
Audio: no music. room tone.
Style: screen test. Camera static.

Handheld close-up.
The little girl slowly takes a small step forward.
Her eyes brighten with happy surprise.
She softly says, “All of it?”
End on her hopeful, excited expression.
No background music.

In the hospital room @Frame at 6.1s, Vivi @Vivi Lovell Character Sheet stands in front of the door. Extreme close up on Vivi's face, with the door out of focus behind her. The color drains from her face, not literally, just figuratively.
VIVI in voice @Maya's Warning Label : "You... You killed someone?"
(beat)
"To give me one more day?"

Reference Lady Caerwyn's appearance from @Lady Caerwyn, After Flight @Lady Caerwyn Full-Body Three-View. She's in @ACT0 shot1.3 running away from something. Reference her voice and accent from @Rosemary and Pansies. she says : Please, please.

Create an exactly 15-second, 24 fps, 2.39:1 cinematic video with synchronized dialogue audio..

Voice lock: identical older male low natural baritone, neutral American state-broadcast English with faint old Mid-Atlantic precision, clipped consonants, slight dry rasp. Controlled urgency builds with each number, but he never turns into a sports announcer and never shouts. Each number is fully intelligible and separated by silence. Close mono microphone, light analog saturation, faint CRT hum, no music, ticking, crowd, gate, or action sound.

HE SAYS COUNTING IT DOWN IN AN EPIC WAY “Five…” “four…” “three…” “Two…” “One.” The first three numbers flow as one grave countdown phrase; the longer gaps before “Two” and “One” make the pressure unbearable. Let urgency enter the breath but keep the volume controlled.

Speak exactly these words and no others:

“Five… four… three… Two… One.”

Do not add, omit, repeat, paraphrase, or caption any word. No subtitles, numerals, clock graphic, title, logo, watermark, other voice, cutaway, sound effect, or music.

Locked camera. The camera stays fixed, with only natural small bumps and sway from the moving wagon. The girl leans slightly forward, lightly rests her hand on the window edge, keeps looking out the window, and cheers "ah, we're finally here." No background music.

Audio:
No music. Foley only — room ambient, Jeff's voice, a rising tension hum barely present under the scene.

Characters:
Jeff — @Jeff
Exact face, hairstyle, outfit, body proportions.

Environment:
@Environment Part 11A (ChatGPT Noir Cinematic Photography)
Analyst room. Tight. Close. Jeff speaks with precision.

Visual Style:
Photoreal cinematic. Widescreen. Close coverage — tight singles, slow push-ins as the revelation deepens. Minimal camera movement. The stillness amplifies the weight.

Scene Duration:
12 seconds

Shot Breakdown:
Shot 1
Close — Jeff. He holds her gaze.
JEFF: "Yes, Ma'am. That first inhaled Anger didn't just make him mad. It manipulated him into freeing every last unit stockpiled in the warehouse — so it could infect the city."
He takes a breath.
JEFF: "This act of terrorism wasn't orchestrated by people."
A pause.
JEFF: "It was orchestrated by Anger itself."
Camera holds. Cut to black.

Continue seamlessly from end of video frame @Frame at 15.1s. Starting inside the car from behind the FATHER who is driving. Sunlight dances through the windshield. The radio hums. Then a violent horn blast shatters the calm. A truck's headlights suddenly fill the windshield, swerving across the center line.
FATHER: "Hold on!"
The steering wheel jerks. Brakes scream. Glass explodes. Metal twists. The world spins. Silence. Then a single crow caws.

Cut to black.

slow motion. analog film grain texture. camera locked.

serious fight scene.

A static fixed film grain overlay sits on top of the entire frame, moving like a natural vintage static. The grain is staticy the entire clip. the entire scene should be a vintage analog look, an old archived film

Handheld camera style.
He throws the grappling hook upward and hooks it onto the top.
Then he grabs the rope and starts climbing up. No background music.

use @Cordon Of Cops strictly as the lead cop in the cordon.
use @Attack hovercraft as the small drone in the sky.
use @Drainage Backdrop Reverse as the setting.
Three shots with hard cuts.
Continuing 100% from the blocking and character performances of @S14G Ext Ref.
Action: Shot 1 — rapid handheld push-in, tight close-up, the Lead Cop in the cordon, front-on and centered in the setting, visor down, weapon raised toward camera, pointed slightly off center to the left; the push snaps in fast and he barks "Hands on your head!" then after a beat he gets worried and yells even louder, "He's breaching!"
Style: handheld, shaky camera, cinéma vérité. 35mm film emulation, halation, bloom, shallow depth of field with hexagonal bokeh.
Audio: no music, no score. the shifting of a bunch of boots on the gravel. People in gear shifting. Drone noise overhead.
Forbidden: no white blobs on the character's faces.

Cinematic miniature-photography, same composition and DOF. Only the wooden ladder and heavy rain. A thin wet transparent foreground layer close to camera; a few large droplets cling and slowly slide, leaving short streaks. Camera climbs in step motion: jump one rung → pause → jump → pause, not smooth. Midway, one tiny side peek during a pause, then re-center. Rain blows toward camera; rung edges bead and drip.

Locked camera.
He stands looking at the drawing first.
Then he suddenly taps his head once, like he just remembered something.
Then he quickly turns and runs deeper into the hallway. No background music.

The spaceship travels slowly through space. The thrusters glow and pulse gently. Subtle light glare sliding across the round windows. Very slow, calm, cinematic drift. Do not rotate. Establishing shot mood.

A single black crow flies in and lands on top of the weathered wooden fence post. Once perched, it settles its wings and looks around with quick, natural bird movements, tilting and turning its head to survey the surroundings. Subtle feather ruffle in the light breeze. Everything else stays still: the fence, wires, and blurred golden prairie background hold steady with warm late-afternoon light. Grounded, realistic wildlife motion, no camera movement.

The oil lamp’s flame flickers, which makes the shadow flickers accordingly.

GLOBAL SETTINGS:
Duration: 6s. Aspect ratio: 16:9. No background music, no score. Ambient sound effects only — a deafening sandstorm roar, wind howling, sand hissing and rattling against the metal chamber.

@image1 is the start frame — the exterior of the chamber in the storm. Preserve it exactly.

Camera: locked-off and completely static — no drift, no pan, no tilt, no push. The frame stays exactly where it starts.

Color grade: strict palette — deep teals and cool greys for the chamber #161E20, #253534, #1B2727, #3F5153, #545456, #777775, warm amber #F2A462 and burnt sienna #BE704A for the sandstorm and light. No colors outside this palette. Cinematic photorealism, heavy atmospheric haze, film grain.

MOTION (0–6s):
The sandstorm rages around the static chamber. Sand streams and churns across the frame at speed, driven hard by the wind — tan haze billowing and rolling, thickening and thinning unevenly over the six seconds but never clearing. Loose sand blows and drifts against the base of the chamber, small grains kicking up off the ground. The chamber itself is unmoving, sealed, indifferent — everything alive in the shot is the storm. Relentless, violent, uninhabitable. Camera never moves.

One continuous locked-off shot.
The camera stays in place with visible irregular handheld drift and small natural balance corrections.
The flames flicker naturally. Smoke continues rising slowly through the firelight.

A sudden gust of wind passes through the chapel.

The visible candle flames and hanging oil-lamp flames bend sharply in the same gust, then extinguish rapidly across the room.

The remaining firelight disappears.

The frame becomes completely black.

Hold briefly on full black.

Pema's POV looking out through the kitchen window. What was a sunny day suddenly turns: heavy rain lashes the glass, a violent thunderstorm rolls in, wind whipping, a flash of lightning, water streaming down the windowpanes. Handheld camera settling at the window as if she has just stopped there. Anamorphic old lens distortion, muted colors, low contrast, soft focus, cinematic realism.

Only 2 shots in total.
Use hard cuts only.
No morphing, dissolves, crossfades, interpolation, or transitional generation.

Shot 1

Start frame matches @Creature Kneeling in Stump-Sea Swamp, Dissolving Head 100%.

She continues dissolving from the head and upper body into petal-like particles.
The particles keep peeling away from the surface of her body and drifting upward.
The particle stream becomes more concentrated as it rises.
She remains in place while her body continues breaking apart, with more and more particles leaving her and lifting into the air above.

The camera position remains fixed.
No push-in, no pull-back, no lateral move, no rise, and no drop.
The camera only slowly tilts upward in place, following the rising particles, gradually lifting from her body toward the higher air above.
This shot uses only that single upward tilt in place.
The image feels quiet, slow, and restrained.

Hard cut.

Shot 2

Start frame matches @Flooded Wetland Aerial, Night 100%.

The petal-like particles are already entering the wetland tree forest and continue drifting forward.
The particle stream moves through the spaces between the trunks and travels deeper into the forest.
Particles close to the lens are heavily defocused, midground particles are moderately defocused, and distant particles are slightly defocused.
The particles keep moving forward as one flowing stream, with a light floating quality and layered dispersion.
Mist drifts slowly, and the wetland tree forest and stump field remain quiet.

The camera follows the particles forward into the wetland tree forest.
The camera move is smooth, slow, and continuous.
The camera keeps moving forward without sudden acceleration, sudden deceleration, or large shaking.
Do not rise too high.
The camera stays with the particle stream and travels forward with it, carrying the viewer deeper into the forest.
The focus of the shot is following the particles into the deeper wetland tree forest.

Quiet swamp ambience.
Soft water sounds.
A damp misty air presence.
A continuous delicate sound from the particles moving through the air.
No dialogue.
No background music.

9-second cinematic sequence using the two reference @a and @b images. Maintain the same square, wooden stage, banners, crowd layout, architecture, and late-afternoon lighting throughout. SHOT 1 duration: 2 seconds.
High-angle wide shot matching the first reference. The @Warrior Red stands on the stage addressing the crowd. @char2 enters from the open lower-right side and walks toward the gathering with quiet curiosity.
SHOT 2
duration: 3 seconds.
Rear medium-wide tracking shot behind @char2. She continues toward the crowd as several villagers move in the same direction. The stage remains visible ahead.
SHOT 3:
duration: 2 seconds. Crowd-level rear three-quarter shot. @char2 reaches the outer edge and carefully moves between the villagers, gradually blending into the audience.
SHOT 4:
duration: 2 seconds.
End with the crowd-POV composition of the second reference @b. @char2 stands among the foreground villagers, subtly leaning to see the Storyteller. The @Warrior Red gestures confidently from the same stage. Preserve @char2 exact character design. Use the large red-haired male reference @Warrior Red only as the Storyteller and only on the stage; never duplicate him in the crowd. Restrained natural crowd movement, no applause yet, no running, no camera shake, no location changes. No music.

15s handheld, three 5s hard-cut shots. Stone Himalayan kitchen of @Himalayan Kitchen, Monsoon 1992 - Steamer Swap, monsoon night 1992: rain streaming on the window, a bare tungsten bulb over the table, spilled momos, a broken plate, a fallen tumbler and brass spoon on the dark floor. @Pema, Age 38, Darjeeling 1992 is Pema; @Tenzin Age 38, Darjeeling 1992 - Edited is Tenzin. Photoreal, warm tungsten split against cold blue storm light, operator breathing and step-bounce. Audio: rain and thunder only, no music, no dialogue.

SHOT 1 (0-5s): Close on @Pema, Age 38, Darjeeling 1992 at the window, back near camera, 85mm, behind her right shoulder. Her chest heaves with angry breathing; she turns her head over her left shoulder, eyes finding @Tenzin Age 38, Darjeeling 1992 - Edited at the table, expression hardening, mouth opening. Hard cut.

SHOT 2 (5-10s): Mid-wide from behind @Pema, Age 38, Darjeeling 1992 at frame left, 35mm, chest height, stressed handheld. @Tenzin Age 38, Darjeeling 1992 - Edited grips a chair back, paces two steps each way, stops and leans on it head down, shoulders hunched. @Pema, Age 38, Darjeeling 1992 steps toward him, chin up, shouts and points at the door; the debris stays unmoved. One lightning flash bleaches the room white. Hard cut.

SHOT 3 (10-15s): Close on @Tenzin Age 38, Darjeeling 1992 - Edited in three-quarter profile, 65mm, eye level, slight drift. Jaw clenching, eyes glassy not crying. He looks at her, then down at the mess, mouth opens then closes. He peels his fingers off the chair, straightens, turns and walks out toward the door, footstep crunching a shard. He does not look back.

He never touches her or throws anything. His cracked steel watch on his left wrist in Shot 3; her gold nose pin, left nostril, in Shot 1. No eye glow, no lens flare.

Duration: 12s. Aspect ratio: 16:9. No background music, no score. Ambient sound effects only — muffled underwater tones, the splash of the ring hitting the surface from below, a body cutting into the water.

@image1 sets the underwater ocean setting — water, depth, light, and color world. @image2 sets the circular red lifeguard ring/float. @image3 sets the lifeguard: a woman in her 20s, appearance and swimwear per the character sheet.

Camera: static and locked-off, no pans, tilts, or zooms — but the whole rig slowly sinks straight down through the shot (a vertical descent, not a tilt), starting higher in the water column than the @image1 waterline reference and settling lower over the 12 seconds. Shot is fully underwater looking up toward the bright surface above.

Color grade: washed-out warm bleach-bypass, soft and dreamlike. Strict palette — bright aqua
#5FC6C2 surface water, deeper darker teal for the depths, dusty coral
#E8A87C warm highlights near the surface light, warm sand
#F2C896, hazy sky blue
#C4D4D0 seen through the surface, bleached white
#F0E6C8 foam and light shafts. No colors outside this palette. Clean clear water, no sediment or particles.

MOTION (0–12s):
We're underwater, looking up at the rippling bright surface above. In the first beat, the red lifeguard ring splashes down onto the surface from above in a burst of white foam and bubbles, dipping just barely below the waterline before bobbing right back up to ride high on the surface, silhouetted against the light — it stays near the surface, never sinking deep. A moment later the lifeguard cuts into the water from frame left and dives downward, angling toward the camera with strong strokes, her body growing larger as she pushes deeper toward the lens. Throughout, the locked camera sinks slowly and steadily straight down, the surface and the ring receding further above as the water darkens toward the bottom of the frame. Bubbles rise past the lens. The camera never tilts or turns — it only descends.

Keep the flat 2D pastel cartoon style. Mila (blue-haired red-skinned woman in yellow) stirs her steaming pot. Sasa (small blue cat-suit character) enters the scene from behind, seen from the back / with his back to the camera as he walks in. The camera stays completely fixed and static, no zoom, no push in, no camera movement at all.

handheld shake camera. analog film grain texture. all the people are watching, moving, talking to each other, laughing, no one should be frozen

A static fixed film grain overlay sits on top of the entire frame, moving like a natural vintage static. The grain is staticy the entire clip. the entire scene should be a vintage analog look, an old archived film

Use the provided artwork as the exact visual reference. Preserve the original scribble ballpoint-pen illustration style, dense cross-hatching, looping ink strokes, visible pen texture, paper grain, and handcrafted sketch aesthetic throughout every frame. Never convert the artwork into realism, CGI, painting, or a clean digital illustration. Keep the same proportions, anatomy, clothing, facial features, lighting, colors, and composition. Every frame must look like the exact same pen drawing brought to life.

Action: The character is already holding a smartphone outside the frame, recording himself in selfie mode. The phone is never visible, and the hand holding it remains completely off-screen. The video begins with the camera naturally aimed at his torso from a low selfie angle. He casually lifts his arm, causing the camera itself to rise smoothly toward his face. As the framing reaches his face, he looks directly into the lens and makes a brief, playful, natural goofy expression, then relaxes back into a neutral expression while continuing to look at the camera.

The motion should feel like a real person casually filming themselves: subtle handheld movement, tiny wrist rotations, natural vertical camera lift, slight breathing, gentle body sway, realistic head tracking, and authentic facial micro-expressions. Avoid cinematic camera moves, dramatic acting, exaggerated expressions, or sudden movements.

Maintain absolute style consistency. The scribble lines, cross-hatching, ink density, paper texture, pen strokes, and illustration quality must remain perfectly stable with no flickering, morphing, redrawing, or style drift. The animation should feel like the original pen drawing itself has come alive while preserving every visual characteristic.

she is listening with full of curiosity use @fatwoman reference, the environment @Gossip Woman at Window, Textured

same miniature diorama / tilt-shift macro look, shallow DOF, warm late-afternoon haze.
Camera: almost locked, only a very tiny drift to the LEFT (a few pixels), no forward push, no zoom, no tilt; subtle handheld micro-jitter only.
Action: the walking-stick man (midground left, the small figure beside the left stalls) walks LEFT→RIGHT in pure side profile, normal slow walk (NOT slow-motion), natural gait and weight shift. He keeps facing right the whole time, never turns toward camera. He exits frame on the right by the end.
Keep all other people mostly still (only minimal ambient micro-motion), faces not readable. Do not add any new people/objects/animals/vehicles/text. Keep lighting and scale consistent.

Style: Hand-drawn 2D animation, richly painted gouache and watercolor texture, cel-shaded character over a highly detailed painted background, confident linework with painterly edge variation — not vector-clean, not stiff — natural daylight lighting, warm and soft, animated on twos at 12 frames per second, every frame independently hand-redrawn with visible line jitter and boil, no 3D render, no CGI smoothness, no motion blur, no literal camera lens vocabulary.

MÃE DE DÚRÓ as character reference — (@ImageMae) exact 1-to-1 face, white embroidered blouse, olive-green wrapped skirt with woven sash, gold headwrap, gold necklace pendant, gold earrings and bracelets, warm brown skin tone, matching the reference sheet precisely. CASA DE DÚRÓ as background environment reference — (@ImageCasa) exact 1-to-1 layout, yard, and surrounding trees.

Off-center framing mandatory. Every frame must show continuous, clearly visible motion throughout.

Action Sequence: Medium shot, off-center, the mother standing in the yard behind the house, her posture tense and alert. Her head turns quickly, scanning the tree line at the edge of the clearing, worry etched clearly across her face. She cups one hand near her mouth and calls out, urgent and afraid, her voice carrying real panic: "DÚRÓ, TÁ INDO PARA ONDE?!" Her body leans slightly forward as she shouts, the fabric of her skirt and headwrap shifting with the sudden movement. Warm natural daylight falls across the yard, leaves rustling gently in the background breeze, grounding the scene firmly in the real world.

CONSTRAINTS: MÃE matches (@ImageMae) exactly 1-to-1; environment matches (@ImageCasa) exactly; off-center framing, no centered symmetry, no direct head-on pose; her expression and body language read as urgent, frightened, searching — not calm; natural daylight palette only, no mystical or aged-gold tones; avoid jitter, avoid bent limbs, avoid identity drift, avoid chaotic composition; no text, no watermark. Audio language: Portuguese. Dialogue: mother shouts "DÚRÓ, TÁ INDO PARA ONDE?!" with visible worry and urgency in tone and delivery. SFX: rustling leaves, distant birds falling silent, tense ambient hush.
duration: 10s (single continuous shot — force explicit duration, do not leave automatic)