Seedance 2.0 · Video Generator

Handheld Battering Wood Ram

AUDIO: ambient SFX only — distant HVAC rumble in dome, slight wall-sconce 60Hz electrical hum, footstep impacts on concrete (boot rubber on machine-troweled finish), fabric rustle of T-shirt an

[5.0-7.0s — GLASSES CU: extreme close-up on the lenses]

training outfit that strongly emphasizes her curvy feminine silhouette:

- Reference: 35mm motion picture film, Arri Alexa with film LUT, A24 cinematography

LENS: physical anamorphic-leaning cinema glass, NOT spherical sterile. Specific look: Cooke S5/i or Master Anamorphic vibe with creamy bokeh, subtle horizontal flare on hot points, slight focus b

- Real bokeh quality in any defocused areas

— overhead cables

telephoto lens (85mm equivalent) compression, razor-sharp focus

8K IMAX photoreal. Subtle organic 35mm-style grain. Cinematography: Emmanuel Lubezki × Roger Deakins (natural light, controlled contrast, precise composition). Lens: physical anamorphic-l

the charred patch, a slow molten glow shows through —

机位：50mm，手持摄影机微呼吸漂移，<<<image_4>>>中景——坐在工作台角上，面朝三人方向。三人缓步走向<<<image_4>>>方向。

⚠️ 镜头角度严格执行: **侧跟拍 side-tracking** — 摄影机位于Roko右拳的左侧, 略低于拳, 紧贴手部. 镜头光轴**垂直于拳的运动方向**(从侧面看拳挥击). 机位锁定在拳上, **跟随拳从右向左平移**, 拳在画面中保持固定位置. 禁POV、禁壁龛内、禁pan/tilt/yaw/orbit/zoom/roll. **摄影机本身的运动伴随拳: 拳右向左快速运动, 摄影机也右向左平移以保持跟拍**.

Photorealistic, real practical location photography of a winter

Color: 60:30:10 — dominant / secondary / accent.

Camera: Physical cine lens. 180° shutter motion blur.

Environment: <<<image_1>>> Evening urban exterior, overcast diffused sky. Wet stone plaza. Emergency light reflections on wet asphalt. Police tape at perimeter.

t forward, broad shoulders, polished metal facets reflecting the cool studio light, dark gray background #808080, spectacular low-key lighting.

Camera: Physical cine lens. 180° shutter motion blur.

Lighting: Natural light only — contre-jour backlight, camera on shadow side, atmospheric haze throughout. Key light from sky and windows only. No artificial lightning.

[镜头] 15秒整段——MACRO PROBE LENS(微距探针镜头)极特写镜头.

⚠️ 10秒one continuous take——禁剪辑/切/cut/跳切. 全程10000fps超极慢动作.

COMPOSITION: rule of thirds + golden ratio. Subject's eyes consistently on the upper third line. Strong leading lines from the octagonal architecture. Avoid central compositions unless meaning is "

— subtle pizza signage (can be small neon or backlit sign, not flashy branding)

— Same exact film grain and photographic quality

[SHOT 3 — MEDIUM, LOW ANGLE, HANDHELD]

MEDIUM — slow push-in toward the second-floor balcony of. All three <<<cfa6a0ca-5d92-4808-b609-e52f0c580408>>> are in a low crouch,

- 0-1s: <<<0b56ca2e-74d3-4be2-b3b9-c86b9e2658f1>>> mid-rotation, body torquing toward Roco. His massive shoulders heave, the bone-metal blade on <<<b091d5b1-2a35-4f43-859e-f359e

DEPTH OF FIELD: Shallow-medium DOF - sharp focus on the emotional subject, BG (architecture / map screen / desks) softly defocused into organic anamorphic bokeh (oval out-of-focus high

CAMERA: continuous FPV drone, no cuts, aggressive movement through all hell locations → dive into lava (artifacts disappear) → expressive impasto lava eruption fills entire frame → emergence on eart

the waistband forming a clear arc over the hip bones, dipping slightly

Wide 24mm, locked low-angle on floor. Destroyed bot face-up on dark concrete — head a flat metal disc, both stumps gushing fuel, severed legs in opposite directions. Roko stands o

straight dolly in shot through the bridge to the platform in front of screen. 16mm wide angle lens.

Second scene: An extreme close-up of the scanner; the scanner first lights up red; a second later, it lights up green, confirming her identity;

telephoto lens (85mm equivalent) compression, razor-sharp focus

Starting Composition: POV from bot's helmet looking forward at Roko frame center mid-room, fists up, blood on face.

nd practicals, contre-jour with atmospheric haze. Color: 60:30:10 — dominant aged-hardwood blacks/reds, secondary cool slate-blue moonlight, accent warm amber butter-lamps. 180° shutter motion blur, photorealistic skin (pores, sweat-shine, capillary flush, micro-saccades), corner vignette and edge chromatic

Every shot uses non-frontal directorial framing. NEVER dutch angle.

— warm neon glow (red/orange or warm white)

CUT 3 — WHIP-PAN KILLS (~3 seconds).

Camera: Eye-level street perspective, slightly wide angle (approx. 28–35mm equivalent), shallow depth of field — bakery facade in sharp focus, towers softly defocused in the background.

ground level, only the upper sky cloud quality changes.

future robotics design, scratched and dented surface, industrial workshop background with harsh spotlights, 8K detail, anamorphic lens flare

body, small natural micro-corrections, slight drift, occasional small re-frames as the operator follows the action. NEVER smooth gimbal-stabilized motion - this is a real human cameraman in a quiet bunker, the camera breathing alive even in held stillness. The shake is subtle (~1-2 degrees of micro-movem

Hard cut to medium shot, camera low, angled up at Roko. Slight handheld micro-shake — alive, not aggressive. Roko stands alone facing the center of the training arena. Dried blood under his nos

Camera: in SHOT 1 slow LOW orbit 3/4. In SHOT 2 (the one-take) descends + LOW orbit close to face + final straight-UP vertical ascent through the dome of fire into BLACK SMOKE.

CUT 1 — RACK FOCUS PULL · CAVALRY TO CRYSTAL · SHIELD GROWTH (~3-4 seconds).

[SHOT 1 — HIGH ANGLE WIDE, STATIC]

机位：严格正上方俯拍（top-shot）。0.5秒freeze frame。

台灯的漫反射。摄影机始终在人物的阴影侧（shadow side）拍摄——面部自然受光但从较暗的一侧取景，practicals环境光照亮脸部轮廓和眼神光。禁止蓝色色溢（blue spill）打在人物皮肤和服装上。全程大气薄雾haze增加空气质感——禁止可见光束（god rays）。色彩：60:30:10——冷蓝/混凝土灰/红色点缀。镜头：物理电影镜头。180°快门运动模糊。禁光学畸变——禁桶形畸变、禁枕形畸变、禁鱼眼效果、禁广角变形，画面线条必须笔直，构图平整。皮肤：毛孔级写实——汗毛、不对称痣、毛细血管潮红、毛孔阴影匹配现场光源。表演：好莱坞级——反应前微停顿、精准视线、湿润活眼带眼神光、可见呼吸和胸腔起伏。

make it anamorphic shot with oval bokeh, barrel distortions, vignette, aberrations, no flares. Make strong anamorphic lens features

【镜头2 · crane广角 · 四人走过通道】

subtle rim light along the silhouette edges separating the figure

EDGE of Roco's back-pauldron and the crystal SPIKES on his upper back. The blade SCRAPES/STRIKES the crystals briefly. Camera in lens-stomp on the scrape contact, dutch tilted in the impact direction.

details of the clothing's folds and beads' sheen. The composition is centered and symmetrical with maximum body visibility and no negative space interruption, presenting the character in ultra-realistic, high detail suitable for character design reference. The overall mood is stoic, focused, and minimalist.

Medium close-up framing on <<<image_1>>> from THREE-QUARTER ANGLE — camera positioned at three-quarter angle to his body, not frontal and not full profile but the classic 3/4 view showi

Wide shot from behind Roko. His back occupies the left edge of frame; the rest of the composition is the center of the training arena. Roko does not move — stands and watches, a p

Camera Style: HEAVY HANDHELD SHOULDER-MOUNTED OPERATOR-PRESENT — constant organic shoulder shake, the operator's breath visible in frame's vertical rise/fall, weight of the rig felt in every micro-bob. Frame is ALWAYS moving — never locked off, never tripod, never gimbal-smooth, never sta

LIGHT: Sun-flooded warm GOLDEN HOUR light angled from upper-LEFT (or upper-RIGHT depending on shot, but consistent within a shot). The light creates warm reflections on the brick building's windows, soft l

Shot 6 (3s) — PULL-BACK REVEALS HIM READY, THEN TRACKS HIM TO DOOR:

表演：好莱坞级——反应前微停顿——精准视线——湿润活眼带catchlight——可见呼吸和胸腔起伏。

🔥 180° / EYELINE 🔥

- WORM'S-EYE / BIRD'S-EYE perspectives where emotionally appropriate

机位：中景steadicam，面朝屏幕，从三人身后跟拍推进。

135mm extreme close-up on Roko's face from very LOW ANGLE worm's-eye perspective. Camera positioned in front of him at ground level approximately 30-40cm above the snow surfac

【镜头3 · 中景insert · 工作台перебивка】

ulse, slow drift forward, intimate distance, the camera is alive in the operator's hands, no aggressive handheld, no whip pan, no snap zoom, no smooth dolly, no fluid head, no slider, no motorized movement, no static tripod, no crane, no orbital, no aerial, no IMAX scale.

- WORM'S-EYE / BIRD'S-EYE perspectives where emotionally appropriate

extreme wide shot, extremely long corridor, exit half closed from above

Shot 3 (1.5s) — OVER-THE-SHOULDER, NOTEBOOK CLOSING:

CONTINUOUS UNCUT FPV DRONE SHOT through 7 painterly locations. Camera always moves, chasing three glowing comet-artifacts (blue, violet, yellow) flying together, leaving long luminous painte

CRITICAL — SPEED RAMP IS THE HEART OF THIS SHOT:

NO people, NO fisheye, NO eye-level shot, NO dark dim

through the parallax shift, the spatial relationships between

Visible heavy 35mm film grain, anamorphic lens flares from the torch when his body crosses it, slight focus breathing as he moves through depth, motion blur on the dive impact, lens fogging from dust at the end. No CGI smoothness, no clean digital look — physical, raw, dirty cinematography.

hite haze. WHITEOUT-BLIZZARD across BOTH foreground and background — 1800-2200 flakes per frame, 30-45° diagonal wind, foreground snow swirls smearing past the lens, ground drift swirls. Distant orange explosion flashes deep in the fog continue at irregular intervals. Palette 60:30:10 — snow / fog / wine-red.

yebrows, and the BOTTOM of frame cuts at his upper lip, leaving only his eyes and nose bridge visible across the entire frame. No headroom, no breathing room — the crop is uncomfortable and intimate. His eyes hold a downward gaze, fixed on the paper off-frame, breath shallow. Soft diffused light wraps his f

- Vanishing point: pushed visibly to the LEFT THIRD of the frame, NOT centered.

CAMERA: dead-center one-point perspective, lens at 1.5m height, 35mm-equivalent cine lens, locked off. The corridor recedes straight away from camera into the depth of the frame. The vanishing point sits exactly

VFX REFERENCES: macro time-lapse of natural crystal growth (geode formation, sugar crystal growth, frost forming on glass) but rendered in 4x slow-mo; Tarkovsky "Stalker" slow-form supernatural transfor

line falling on a horizontal third, leaving negative space for the gaze to land. OFF-CENTER framing in EVERY shot — head room and lead room respected. Wide shots use the lone tree as a deep-frame anchor with figures off-center beneath/beside it; CU/MCU shots place the actor's face on left or right vertical t