Goblin Traveller and Steed in the Mountains

seedance 2.0测试,对环境,人物,调性的认知 一张底图,我给的提示词很简单:一个神器的故事,蝴蝶从画面中飞出来,变成一个漂亮的蝴蝶仙子,环顾四周,忽然好像有人来了,蝴蝶仙子又回到墙上~~ 字还打错了~~ 但是模型精准的测试到了这不是中国的调性,然后有人来了的时候仙子也非常的紧张,表情很好,还有百合花也被用上了,仙子出来作为一个蝴蝶,就去对花感兴趣,逻辑非常顺畅,总之这个模型还是相当聪明就是了. 真爽啊,Sora 现在要用被要求给电话验证很讨厌,现在国产这么牛也是太开心了~~ 第一要素:特别好的想法; 第二要素:有个好点的底图. 未来卷的不是提示词,而是你有没有一个好的想法,这个好的想法,要求变得很高,因为有成千上万的人想各种好点子,你的“创意”只是基于你自己的水平,还是扔到视频的洪流里是个什么状况~~ 分类也会被重置: 搞笑赛道、深刻赛道、哲理赛道、打斗赛道、出其不意赛道、脑洞大开赛道、美赛道、治愈赛道、恐怖赛道、漫漫剧赛道、短剧赛道、未来感赛道、赛博朋克赛道、离谱赛道……大概按照功能分,你准备做那个赛道?

A heartwarming cinematic rescue story. A young girl walks through a misty forest at golden hour when she hears faint cries. She discovers a tiny injured baby fox trapped beneath fallen branches near a stream. Close-up shots of the frightened animal trembling as the girl gently clears the debris and carefully lifts it into her arms. Soft sunlight filters through the trees, highlighting dust particles and warm cinematic lens flares. The girl wraps the fox in her scarf and carries it through the forest. Emotional, ultra-realistic visuals, shallow depth of field, natural camera movement, detailed fur and facial expressions. The fox gradually regains strength and looks up at her with trust. Final scene: the recovered fox reunites with its family in a sunlit meadow while the girl smiles warmly. Hollywood wildlife documentary style, cinematic color grading, volumetric lighting, emotional storytelling, 4K, realistic motion, heartwarming atmosphere, Seedance 2.0.

:{ "META": "Live-action standalone creature attack short | Length 15 seconds | Rural American desert outskirts | 1950s to 60s grounded realism | Giant insect horror | Cinematic realism", "SHOT": { "CAM": "Low shoulder height tracking shot following the pair from behind along the dirt road, slight wobble like a documentary operator. Sudden violent handheld shake as the creature emerges, whip pan to the first strike, brief stumble to ground-level POV, final locked wide shot on the wrecked roadside, filmed on ARRI Alexa LF with 35mm lens", "SET": "Sun-bleached desert roadside outside a fading small town, cracked asphalt transitioning into dirt, a crooked roadside billboard with peeling paint, a broken-down gas station sign without readable text, wooden telephone poles with sagging lines, a shallow drainage ditch filled with dry weeds and rusted cans, a half-buried abandoned 1950s pickup frame in the sand, distant mesas shimmering in heat haze", "SUBJECT": "Two young adults caught in open ground, Hank Carter early 20s, lean build, sweat soaked white undershirt with an unbuttoned faded work jacket, grease and dust on hands. Evelyn Shaw early 20s, dark brunette hair pinned but coming loose, pale blue cotton dress with a small tear at the shoulder, face smeared with dust and panic", "ACTION": "They sprint along the roadside ditch as the ground beneath the weeds begins to bulge in a long moving ridge. The dirt splits open in jagged seams. A gigantic termite-like insect erupts upward, pale tan armored body plated with gritty dust, its head snapping side to side with frantic clicking. It lunges and slams its heavy forelimbs down, crushing the ditch edge into a spray of sand and dry weeds. Hank grabs Evelyn’s wrist and yanks her up onto the road. The insect surges forward and its mandibles clamp onto Hank’s leg, dragging him backward across the asphalt. He screams and claws at the mandibles as dark viscous fluid leaks from a cracked segment. The insect whips him sideways into a wooden power pole with a brutal impact. The pole splinters, wires snapping and whipping through frame. Evelyn stumbles, falls, and crawls backward as the insect pivots with terrifying speed. It lunges again, pinning her dress to the ground with a stabbing forelimb. She rips free, leaving fabric behind. The insect rears and slams down, smashing the roadside into a choking dust cloud. Final wide: the ditch is torn open, the pole broken, dust drifting, and the insect’s segmented shadow moves off-frame into the haze.", "STYLE": "Practical monster horror realism, termite weight and physics emphasized, no stylized motion, raw violent impact, tactile debris, sand and weeds striking the lens, grounded 1950s creature-feature tone", "LIGHTING": "Blazing desert sun casting razor hard shadows, harsh specular highlights flashing along the insect’s dusty armored plates, heat shimmer warping the background", "AMBIENCE_COLOR": "Bleached sand yellows, dusty tan exoskeleton, rust orange metal, faded sky cyan, chalk gray dust clouds" }, "AUDIO": { "dialogue": [ { "speaker": "Hank Carter", "line": "Evelyn run" }, { "speaker": "Evelyn Shaw", "line": "Hank no" } ], "ambience": [ "dry weeds rustling under sprinting feet", "earth splitting and sand cascading", "explosive emergence impact", "rapid insect clicking and rasping mandibles", "wood pole splintering and power lines snapping", "body slam thud and gravel scrape", "wind gust through dust cloud", "dust settling into tense silence" ] }, "NEG": "no subtitles, no drones, no on screen text, no glowing eyes, no neon colors, no modern vehicles, no modern clothing, no stylized CGI surfaces, no slow motion" }

[Visual Style] Eastern Classical Wuxia Aesthetics, cinematic visual language, bamboo forest sea landscape, emerald green main color tone, rich layering of light and shadow, soft light beam effects visible within the forest. [Character Definition] 1. Male Swordsman: Dressed in a plain white long robe, steady posture, concise and powerful movements. 2. Female Swordsman: Dressed in a cyan-phoenix colored light gauze dress, light and smooth movements, agile posture. [Video Duration] 10 seconds [Storyboard] [00:00-00:03] Shot 1: Wide Shot Composition. Scene: The tops of tall, dense bamboo forests, with clouds and mist slowly flowing through the grove. Action: The male and female swordsmen stand separately among the high bamboo shadows, their bodies light and stable, as if maintaining balance by utilizing airflow and the bamboo's momentum. Detail: Bamboo branches naturally bend and spring back in the breeze, and the figures' postures subtly fluctuate with the bamboo shadows, presenting an impressionistic effect of Qinggong (lightness skill). The overall scene is quiet yet tense. [00:00-00:06] Shot 2: Medium Shot, Slow Motion. Action: The two figures leap almost simultaneously, crossing paths in the air. Interaction: Two sword shadows briefly intersect in the air, forming a bright light streak. Surrounding bamboo leaves are driven by the airflow, slowly spinning and scattering. Visual Focus: Leaves flutter in the air, creating distinct foreground and background layers. The movement is smooth, without exaggerated impact. [00:06-00:10] Shot 3: Dynamic Tracking Shot. Action: The female swordsman glides forward, her sleeve brushing past bamboo branches to change direction; the male swordsman continuously follows, using the bamboo for leverage, with light, rhythmic steps. Environmental Feedback: The camera smoothly tracks the movement. The bamboo forest forms a natural speed blur effect at the edges of the frame. Visual Effect: Each movement kicks up a large amount of scattered bamboo leaves, flowing like leaf rain in the frame, enhancing the sense of spatial depth and dynamic beauty. [Technical Requirements] Cinematic lighting, saturated but clearly layered colors, natural depth of field, stable and clean visuals, presenting the overall impressionistic beauty and spatial tension of Eastern Wuxia.

Three RAF Spitfires fly forward rapidly in tight formation through cloudy skies over England, their propellers spin furiously creating motion blur. Suddenly German Messerschmitt fighters dive aggressively from above through cloud cover, descend at steep angles with engines screaming. The Spitfire formation breaks apart instantly, each aircraft banks sharply in different directions. A Spitfire rolls violently to evade, performs a tight barrel roll, machine guns fire continuously, tracer rounds stream brilliantly across the sky. A Messerschmitt takes hits directly on the wing, smoke trails begin immediately, the aircraft spirals downward uncontrollably, spins faster and faster, flames erupt from the engine cowling intensely, the plane plummets toward the ground rapidly. Another Spitfire pursues a Messerschmitt aggressively, both aircraft weave dramatically through clouds, emerge suddenly into clear sky, dive steeply together locked in pursuit. Clouds drift majestically throughout the battle, aircraft appear and disappear through the vapor continuously. Contrails streak beautifully across the blue sky marking flight paths. The camera starts inside a Spitfire cockpit looking forward through the canopy, follows one aircraft's acrobatic maneuvers closely, then transitions smoothly to an external chase position behind the dogfighting planes, the camera matches their rolls and turns dynamically, finally pulls back rapidly to a wide aerial view, reveals multiple aircraft engaged across a vast sky dramatically.

A flooded subterranean megastructure, ancient stone corridors half-submerged in black water, bioluminescent algae pulsing along the walls like a heartbeat. A masked diver in scarred tactical gear, lit by a flickering wrist-mounted flare, is pulled downward through collapsing flooded chambers by the current of a colossal eyeless leviathan moving beneath the floor grates. The camera plunges after the diver as water rushes through shattering stone archways, air bubbles and debris spiraling past the lens. The diver grabs a broken pillar to stop herself, the current ripping at her body, then releases and freefalls through a vertical shaft, twisting to dodge the leviathan's translucent tendrils whipping upward through the darkness. Quick shaky frames catch her igniting a harpoon gun mid-fall, the flare illuminating the creature's massive jaw opening below. In the final movement, the camera spirals downward around her as she fires the harpoon into the creature's mouth, the bioluminescence erupts blinding white, and the camera bursts through the surface of a vast underground ocean, the diver silhouetted against the glow of a thousand pulsing organisms on a cathedral-sized cavern ceiling. 15 seconds..

A colossal armored baboon charges through a burning Maasai village, it picks up and throws a maasai warrior into a burning hut, Maasai warriors are running away in fear amid a storm of fire and debris.

Camera pushes in as the woman kneels deliberately onto the wooden bridge in a dramatic ninja pose, moving into an extreme close-up of her eye which ignites with bright glowing magical energy. The camera then rapidly pulls back as she leaps explosively upward, her body bursting apart into a swirling cloud of black feathers and dark magical sparks as she transforms into a large black crow mid-air. The camera zooms in and locks onto the crow smoothly in a tight dynamic tracking shot as it dives under the mossy logs, sweeps fast over the shimmering water surface, then banks sharply upward through drifting cherry blossom petals into the golden sky. The camera gradually widens into a sweeping aerial view revealing a vast fantasy Japanese landscape of misty mountains, blossom-filled valleys, and ancient wooden villages bathed in warm golden hour light with volumetric god rays. Giant Oni walk across the fields.

A massive kraken attacks a pirate ship, the captain slices it with his sword. hyper realistic cinematic movie scene

Prompt Drone shot: a rabbit is desperately skiing down a snowy valley slope. Behind it, a massive avalanche erupts with a thunderous roar, cascading downward like a moving white wall. Waves of snow churn violently, hurling huge clouds of powder into the air as they rapidly close in. Trees, rocks, even birds in mid-flight — anything that comes into contact with the avalanche is instantly swallowed. The rabbit pushes itself to the limit, fleeing for its life as the avalanche draws closer and closer. In the split second it looks back, the roaring white surge engulfs it — the screen completely consumed by swirling white. After a brief suffocating moment, the snow suddenly explodes outward — the rabbit bursts out of the snow wave, flipping into the air. Its snowboard is gone; it can only sprint forward through the snow, adrenaline at maximum. Suddenly, the rabbit makes a desperate leap. The camera pulls back in a wide, sweeping arc, capturing both the rabbit and the avalanche that is nearly devouring the entire valley. Between heaven and earth, nothing remains but the rolling white torrent. At last, the avalanche consumes almost everything. The snow dust slowly settles — revealing the rabbit dangling alone from a tree branch that is about to snap, suspended above a bottomless snow-filled gorge. The camera slowly pushes in. The rabbit looks up at the camera, forcing an extremely awkward, trying-to-stay-calm smile, and says, “Don’t worry, I’m fine.” The branch lets out a sharp crack, half-splintered, trembling on the verge of breaking.

SCENE: DEEP OCEAN TRENCH - UNDERWATER Quick Cuts ATMOSPHERE: Awe-inspiring and primeval. The sheer, terrifying scale of a peaceful giant moving flawlessly through the quiet ocean water evokes a profound sense of majesty and the raw power of nature. SHOT DESCRIPTION: A fast-paced sequence of cinematic underwater shots capturing the majestic movement and physical presence of a gargantuan whale. The sequence starts wide, pushes into micro-details, captures a second whale joining, and concludes with a powerful, turbulent departure. TIMELINE / SHOT-BY-SHOT: 0:00-0:03 - [Extreme Wide Angle / 16mm / Slow Drift]. A breathtaking full-body profile of a gargantuan whale suspended in the vast liquid space. The massive creature displaces thousands of gallons of water smoothly. SFX: A low, resonating bass frequency of the ocean depth. 0:03-0:06 - [Push In / Smooth Track]. The camera slowly pushes in towards the creature's immense midsection. The visual scale shifts to reveal the mountain-like texture of its skin, heavily encrusted with thick clusters of pale, jagged barnacles. SFX: A deep, chest-vibrating biological groan that slowly builds in intensity. 0:06-0:09 - [Medium Shot / Slow Pan]. The camera glides parallel to the whale. An ancient, intelligent eye the size of a vehicle rolls loosely to observe the space. Swirling streams of micro-bubbles cascade off its massive pectoral fins. SFX: The gentle, rhythmic swoosh of water being physically displaced. 0:09-0:12 - [Deep Focus / Wide Angle / Pan]. A colossal shadow looms slowly from the deep background, rising vertically. A second, equally massive whale emerges into view, creating a breathtaking tandem formation with the first. Their sheer combined mass visibly shifts the water current. SFX: Overlapping, mournful low-frequency calls echoing. 0:12-0:15 - [Tilt Up / Turbulence]. Both whales initiate a unified downward dive. The gargantuan tail flukes sequence into the frame. As the tails sweep downward, they create a massive localized vortex. The camera vigorously shakes, engulfed perfectly by a chaotic explosion of tumbling silver air bubbles before the vision blurs. SFX: A sudden, explosive wall of water displacement washing over the soundscape. TECHNICAL & RENDER: - Camera: Floating cinematic rig, smooth zero-gravity drifting, sudden turbulence and camera shake at the climax - Lens: 16mm ultra-wide underwater dome port, deep depth of field - Modifiers: Shot on 35mm film, photorealistic, cinematic atmospheric lighting, highly detailed, raw footage, motion picture, 8k resolution, volumetric rendering. MICRO DETAILS & TEXTURES: - Densely packed clusters of jagged, calcified white barnacles attached to the leathery grey skin - Shimmering silver micro-bubbles streaming along the deep ridges of the whale's ancient, healed scars - The physical weight of water visibly bending and rushing around the massive thrust of the tandem tail flukes SOUND LAYERS: 0:00-0:06: Heavy underwater pressure ambient tone, chest-vibrating biological groan 0:06-0:12: Swishing water displaced by fins, overlapping low-frequency calls echoing 0:12-0:15: Rushing, heavy wall of water displacement blending back into absolute isolation

Live-action cinematic sequence. The woman finishes pumping gas. The pump clicks off. Silence. She looks around at the empty desert. A car appears on the horizon. She squints. The car speeds past without stopping. Dust cloud. She walks to her trunk and opens it. Cut to inside: bags of cash and a gun. She slams it shut and mutters: "Not far enough yet". She drives off.