Vitrine Seedance 2.0
Parcourez les générations publiques réussies de la communauté et ouvrez n'importe quel élément pour inspecter l'invite, les paramètres et le résultat.
FORMAT: 9:16 vertical | Length: 15s hard cut | Archetype: Raw Brazilian UGC Confession SETTING: Sitting on a mattress...
FORMAT: 9:16 vertical | Length: 15s hard cut | Archetype: Raw Brazilian UGC Confession SETTING: Sitting on a mattress on the floor in a very bare room. Peeling paint on the walls. CAMERA: Handheld, slightly low angle. Natural light from a door. CHARACTER: Mother looking completely defeated. Silent tears flowing. PRODUCT IN FRAME: NO PRODUCT IN FRAME. (Baby sleeping on her lap on the mattress). SEGMENT A DELIVERY (0-10s): Line 1 - Voice low and heavy with sorrow: "Eu nunca imaginei que ia ter que ver meu filho dormindo no chão porque a gente não tem nem um berço." Line 2 - Touches the baby's hand: "A gente perdeu tudo e eu só sei chorar pedindo perdão pra ele." TRANSITION (at 10s): She sniffs loudly, looks back at the camera with a fragile, hopeful gaze (duration 1s). SEGMENT C DELIVERY (10-15s): Line 1 - Pleading CTA: "Me ajuda a dar uma vida melhor pra ele. Me segue na página e comenta qualquer coisa." AUDIO: Sniffling, quiet room ambiance, sad voice. ANTI-GLITCH RULES: Mattress and wall texture must remain static. Perfect lip sync.
Gerar vídeo vertical 9:16 em ultra resolução 4K, qualidade máxima, estilo gravação realista de criador de conteúdo pa...
Gerar vídeo vertical 9:16 em ultra resolução 4K, qualidade máxima, estilo gravação realista de criador de conteúdo para redes sociais. IMPORTANTE: vídeo ultra realista com modelo humano real, movimentos naturais durante toda a gravação. Não gerar animação, não gerar slideshow e não gerar imagem estática. Idioma obrigatório: português do Brasil. A modelo deve falar somente em português com áudio limpo e natural. Áudio: voz feminina natural, clara, sem ruído de fundo, como gravação com microfone de boa qualidade. Ambiente: sala de estar limpa, iluminada, aconchegante, com iluminação natural suave. Um sofá visível no ambiente. Cena 1: A modelo aparece segurando a capa protetora de sofá e olhando diretamente para a câmera. 🎤 Fala da modelo: "Gente, olha isso… como eu não comprei essa capa protetora de sofá antes?" Cena 2: A modelo coloca a capa no sofá de forma natural. 🎤 Fala da modelo: "Ela é impermeável, protege contra líquidos, sujeira e pelos de pets." Cena 3: A modelo passa a mão no tecido da capa mostrando a textura. 🎤 Fala da modelo: "E ainda é dupla face, então dá pra usar dos dois lados." Cena 4: A modelo olha para a câmera e sorri de forma natural. 🎤 Fala da modelo: "Se você também quer proteger seu sofá, entra no carrinho e dá uma olhada." Regras obrigatórias: vídeo ultra realista em 4K ultra resolução modelo aparecendo desde o início movimentos naturais da modelo interação real com o produto áudio limpo sem texto na tela sem legendas sem gráficos câmera estável com movimento suave
Create a 15-second ultra-realistic cinematic cooking video. Vertical 9:16 format. Premium food commercial style. No A...
Create a 15-second ultra-realistic cinematic cooking video. Vertical 9:16 format. Premium food commercial style. No AI look. No CGI smoothness. No plastic textures. Real food physics. Dish name: Cottage Cheese Lasagna Crisps Ingredients: Cottage cheese Egg Parmesan cheese Italian seasoning Optional topping: Fresh parsley Extra parmesan ⚠️ CRITICAL VISUAL CONSISTENCY RULE The crisps shown in the first 3 seconds must be IDENTICAL to the reference image. Same: • same bowl • same crispy cheese texture • same parsley placement • same lighting and background • same stacked crisp layers No ingredient morphing. 🎥 Scene Structure 0–3s — HERO HOOK Extreme macro close-up of stacked Cottage Cheese Lasagna Crisps. The crisps look: • golden brown • crunchy blistered cheese surface • crispy thin layers stacked like lasagna sheets A hand lifts the top crisp layer. The layer cracks slightly showing crunch texture. Steam rises from the warm cheese. Camera performs slow cinematic push-in. 🎤 Voiceover (female voice) “Lasagna… but crispy.” Voice requirements: • female voice • warm and clear • studio quality • no background noise • no music Voice ends at 3 seconds. 3–8s — COOKING PROCESS Cut to mixing bowl. Cottage cheese added. Egg cracked into bowl. Parmesan sprinkled. Italian seasoning added. Mixture stirred into thick batter. Batter spread thinly on parchment baking tray. Natural sounds: • spoon mixing • egg crack • cheese sprinkle 8–12s — TEXTURE SHOTS Macro shots: • mixture spread thin • tray placed into oven • cheese bubbling • surface blistering and turning golden Camera slow side movement. 12–15s — FINAL SHOT Return to same crisps from the hook shot. A crisp layer is lifted. Crunch sound as it breaks slightly. Interior shows: • crispy thin layers • golden cheese bubbles • crunchy edges Camera slow push-in. Soft blurred kitchen background. End with 1 second clean hold shot.
Create a 15-second ultra-realistic cinematic cooking video. Vertical 9:16 format. Premium food commercial style. No A...
Create a 15-second ultra-realistic cinematic cooking video. Vertical 9:16 format. Premium food commercial style. No AI look. No CGI smoothness. No plastic textures. Real food physics. Dish name: Cottage Cheese Lasagna Crisps Ingredients: Cottage cheese Egg Parmesan cheese Italian seasoning Optional topping: Fresh parsley Extra parmesan ⚠️ CRITICAL VISUAL CONSISTENCY RULE The crisps shown in the first 3 seconds must be IDENTICAL to the reference image. Same: • same bowl • same crispy cheese texture • same parsley placement • same lighting and background • same stacked crisp layers No ingredient morphing. 🎥 Scene Structure 0–3s — HERO HOOK Extreme macro close-up of stacked Cottage Cheese Lasagna Crisps. The crisps look: • golden brown • crunchy blistered cheese surface • crispy thin layers stacked like lasagna sheets A hand lifts the top crisp layer. The layer cracks slightly showing crunch texture. Steam rises from the warm cheese. Camera performs slow cinematic push-in. 🎤 Voiceover (female voice) “Lasagna… but crispy.” Voice requirements: • female voice • warm and clear • studio quality • no background noise • no music Voice ends at 3 seconds. 3–8s — COOKING PROCESS Cut to mixing bowl. Cottage cheese added. Egg cracked into bowl. Parmesan sprinkled. Italian seasoning added. Mixture stirred into thick batter. Batter spread thinly on parchment baking tray. Natural sounds: • spoon mixing • egg crack • cheese sprinkle 8–12s — TEXTURE SHOTS Macro shots: • mixture spread thin • tray placed into oven • cheese bubbling • surface blistering and turning golden Camera slow side movement. 12–15s — FINAL SHOT Return to same crisps from the hook shot. A crisp layer is lifted. Crunch sound as it breaks slightly. Interior shows: • crispy thin layers • golden cheese bubbles • crunchy edges Camera slow push-in. Soft blurred kitchen background. End with 1 second clean hold shot.
American high school gymnasium during evening science fair, fluorescent lighting casting harsh shadows over folding t...
American high school gymnasium during evening science fair, fluorescent lighting casting harsh shadows over folding tables with student projects, parents and students browsing displays. Wide shot captures the moment: Soo-Yeon, 16, Asian-American girl in simple sweater, stands beside her project table as Tyler, 17, tall white senior in letterman jacket, towers over her laughing with his friends. His open palm connects hard across her face, project materials scattering. Students nearby freeze, phones rising. The main gymnasium doors at the far end push open as Elena Park, 40s, athletic build with dark hair pulled back, walks in wearing a navy Olympic training jacket with five rings clearly visible on the left chest. She carries a protein bar and permission slip, having come straight from training. Medium shot: She sees her daughter first, sets items on nearest table, walks directly to Soo-Yeon. Both hands cup her daughter's face—professional assessment, checking eyes and jaw with clinical precision. Close-up: Elena straightens, turns slowly to face Tyler. He looks at the jacket, at the five rings, recognition dawning. His friends step back instinctively. Elena stands between them, weight balanced, shoulders loose—forty years of muscle memory. She speaks quietly: "You should apologize to my daughter." Tyler's face shows the calculation of a boy who's just realized what he's facing. No logos, no brand names, no watermarks, no text overlays.
American high school gymnasium during evening science fair, fluorescent lighting casting harsh shadows over folding t...
American high school gymnasium during evening science fair, fluorescent lighting casting harsh shadows over folding tables with student projects, parents and students browsing displays. Wide shot captures the moment: Soo-Yeon, 16, Asian-American girl in simple sweater, stands beside her project table as Tyler, 17, tall white senior in letterman jacket, towers over her laughing with his friends. His open palm connects hard across her face, project materials scattering. Students nearby freeze, phones rising. The main gymnasium doors at the far end push open as Elena Park, 40s, athletic build with dark hair pulled back, walks in wearing a navy Olympic training jacket with five rings clearly visible on the left chest. She carries a protein bar and permission slip, having come straight from training. Medium shot: She sees her daughter first, sets items on nearest table, walks directly to Soo-Yeon. Both hands cup her daughter's face—professional assessment, checking eyes and jaw with clinical precision. Close-up: Elena straightens, turns slowly to face Tyler. He looks at the jacket, at the five rings, recognition dawning. His friends step back instinctively. Elena stands between them, weight balanced, shoulders loose—forty years of muscle memory. She speaks quietly: "You should apologize to my daughter." Tyler's face shows the calculation of a boy who's just realized what he's facing. No logos, no brand names, no watermarks, no text overlays.
American high school gymnasium during evening science fair, fluorescent lighting casting harsh shadows over folding t...
American high school gymnasium during evening science fair, fluorescent lighting casting harsh shadows over folding tables with student projects, parents and students browsing displays. Wide shot captures the moment: Soo-Yeon, 16, Asian-American girl in simple sweater, stands beside her project table as Tyler, 17, tall white senior in letterman jacket, towers over her laughing with his friends. His open palm connects hard across her face, project materials scattering. Students nearby freeze, phones rising. The main gymnasium doors at the far end push open as Elena Park, 40s, athletic build with dark hair pulled back, walks in wearing a navy Olympic training jacket with five rings clearly visible on the left chest. She carries a protein bar and permission slip, having come straight from training. Medium shot: She sees her daughter first, sets items on nearest table, walks directly to Soo-Yeon. Both hands cup her daughter's face—professional assessment, checking eyes and jaw with clinical precision. Close-up: Elena straightens, turns slowly to face Tyler. He looks at the jacket, at the five rings, recognition dawning. His friends step back instinctively. Elena stands between them, weight balanced, shoulders loose—forty years of muscle memory. She speaks quietly: "You should apologize to my daughter." Tyler's face shows the calculation of a boy who's just realized what he's facing. No logos, no brand names, no watermarks, no text overlays.
In a gated Savannah, Georgia mansion foyer at midday, bright natural sunlight pours through tall glass doors onto gle...
In a gated Savannah, Georgia mansion foyer at midday, bright natural sunlight pours through tall glass doors onto gleaming marble floors. A white American man in his mid-40s, travel-worn in a dark jacket and jeans, steps inside and freezes. In a medium shot, a pale white American woman in her mid-20s wearing a worn gray maid uniform is on her knees scrubbing the floor; her hands tremble as she looks up, eyes wide with fear. Close-up on his stunned face as he whispers, “Emily?” Cut to a tight close-up on her bruised forearm as she flinches and breathes, “Dad?” The camera slowly pushes in as tension spikes—her body recoils, his hand hovers helplessly in the air—then the sound of sharp heels approaches from off-screen. Grounded silence, low ominous music building. No logos, no brand names, no signage, no watermarks, no text overlays.
Photorealistic cinematic short. Airport terminal, Gate C14, late afternoon. Warm amber light slants through floor-to-...
Photorealistic cinematic short. Airport terminal, Gate C14, late afternoon. Warm amber light slants through floor-to-ceiling windows, cutting across rows of grey terminal seats. The space hums with soft ambient noise — rolling luggage, gate announcements, distant conversations. SECONDS 0–4: LOW ANGLE, SLOW PUSH IN. Jake Morrison, 50s, wrinkled shirt, flushed face, towers over Private Sarah Chen, 22, seated alone in Army fatigues, olive duffel bag at her feet. He leans forward, finger jabbing the air near her chest, mouth open and ugly. Sarah does not move. Spine vertical. Hands flat on knees. Eyes fixed on the middle distance. Her stillness is absolute — a wall of quiet discipline against his storm. SECONDS 4–9: WIDE MASTER SHOT. The full terminal in frame. Among the ordinary travelers — a man in Army dress uniform sets his coffee cup down in slow motion. A woman in Navy blues folds her book shut. A man in civilian clothes — military unit pins catching the light — pushes back his chair. Heads turn across the gate area, one after another, like a slow current through the room. No urgency. No panic. A tide. SECONDS 9–12: MEDIUM TRACKING SHOT. They stand. All twelve. Simultaneously. Different uniforms, different ages, different branches — a quiet wall of people rising to their feet from scattered seats across the terminal. They turn to face Jake. The surrounding travelers freeze. A child points. A gate agent lifts a phone. SECONDS 12–14: CLOSE ON JAKE'S FACE. He stops mid-sentence. Turns. Sees the first uniform standing. Then the second. Then he rotates slowly and counts. His color drains. SECOND 15 — FINAL FRAME: Wide static shot. Sarah Chen, still seated, perfectly still, spine straight, hands flat. Behind her, twelve uniformed figures have quietly converged in a loose semicircle — Army, Navy, Marines, Air Force — all facing outward. Silent. Immovable. Cinematic color grade: warm shadows, cool blue terminal overhead light, golden window shafts. Continuous motion, no freeze frames. Shallow depth of field on close-ups, deep focus on wide shots. No text overlays. No watermarks. No logos. No narration." Key Sora-specific optimizations made: Broke action into clear second-by-second beats so Sora can track motion states Added explicit camera directions (low angle, push in, wide master, tracking) which Sora responds to Anchored lighting conditions precisely (amber window light, fluorescent overhead) for consistent scene continuity Removed dialogue (Sora doesn't generate synchronized speech reliably) Kept the emotional arc fully visual — the stillness vs. the rising — so no narration is needed to carry the story
[10-SECOND CINEMATIC SCENE] SETTING: Standard American public school classroom | Mid-afternoon | Harsh fluorescent li...
[10-SECOND CINEMATIC SCENE] SETTING: Standard American public school classroom | Mid-afternoon | Harsh fluorescent lighting mixed with bright sunlight streaming through tall windows | Oppressive silence, only the hum of air conditioning All characters are white American, contemporary middle-class public school setting. CHARACTERS: MRS. HENDERSON: Mid-50s, graying brown hair pulled back severely, wearing a navy cardigan and khaki pants, rigid posture, cold authority in her stance SARAH: 13 years old, pale complexion with long blonde hair, wearing a pink t-shirt and jeans, visibly unwell, hand trembling slightly as she raises it SECOND-BY-SECOND BREAKDOWN: 0:00-0:02 (THE HOOK): Extreme close-up on a metal cabinet lock clicking shut. Mrs. Henderson's weathered hand turns the key with deliberate satisfaction. Rack focus from the lock to rows of colorful water bottles trapped behind the metal mesh. The sound echoes in the silent classroom. 0:02-0:04: Wide shot revealing the full classroom. Twenty-three students sit at desks, looking defeated and uncomfortable. Sarah's hand slowly, shakily rises from her desk. Push in on her pale, sweating face as she struggles to speak. Mrs. Henderson turns, eyebrows raised in annoyance. 0:04-0:06: Over-the-shoulder shot from behind Sarah. Mrs. Henderson's face is stone-cold, arms crossed defensively. Sarah's voice is barely audible, desperate. Close-up on Mrs. Henderson's mouth as she delivers her cruel response, each word deliberate and cutting. 0:06-0:08: Handheld camera slowly zooms in on Mrs. Henderson's face as her expression hardens further. Her eyes narrow with contempt. Cut to Sarah's reaction - her face crumples, hand dropping to her desk in defeat. The fluorescent lights seem to buzz louder. 0:08-0:10: Final wide shot from the back of the classroom. Mrs. Henderson turns back to the board dismissively. Hold on the locked cabinet in the foreground, water bottles visible through the mesh, while Sarah slumps in her chair. Fade to black on the cabinet lock. DIALOGUE OPTIONS: SARAH (weak, desperate whisper, voice shaking): "Mrs. Henderson... the nurse said I need water every hour for my medication..." "Please, Mrs. Henderson... the nurse told me I have to drink water because of my pills..." "But Mrs. Henderson... the school nurse said I need water hourly for my medicine..." "The nurse said I need to drink water every hour... because of my medication..." "Mrs. Henderson... my nurse note says I need water every hour for my condition..." "Please... the nurse told my mom I have to drink water hourly for my medicine..." "But the nurse said... I need water every hour because of my medication..." "Mrs. Henderson... I have a nurse's note about drinking water for my pills..." "The school nurse said I need water hourly... because of my medication..." "Please, Mrs. Henderson... the nurse said water every hour for my medicine..." MRS. HENDERSON (cold, dismissive authority, each word sharp): "I don't care what the nurse said. My classroom, my rules." "The nurse doesn't run my classroom. I do. My rules." "I don't care about nurse notes. This is my classroom." "What the nurse says doesn't matter here. My classroom, my rules." "The nurse isn't in charge here. I am. My rules stand." "I don't care what anyone told you. My classroom, my rules." "Nurse or no nurse, this is my classroom. My rules apply." "The nurse doesn't make rules in here. I do." "I don't care about your nurse's orders. My classroom, my rules." "What the nurse wants doesn't matter. This is my classroom." TECHNICAL NOTES: No logos, brand names, watermarks, or text overlays Natural classroom acoustics - fluorescent buzz, air conditioning hum Realistic student desk arrangements and spacing Authentic middle school classroom props - whiteboard, student desks, educational posters Coherent spatial relationship between teacher's desk, cabinet, and student seating
Photorealistic cinematic short. Airport terminal, Gate C14, late afternoon. Warm amber light slants through floor-to-...
Photorealistic cinematic short. Airport terminal, Gate C14, late afternoon. Warm amber light slants through floor-to-ceiling windows, cutting across rows of grey terminal seats. The space hums with soft ambient noise — rolling luggage, gate announcements, distant conversations. SECONDS 0–4: LOW ANGLE, SLOW PUSH IN. Jake Morrison, 50s, wrinkled shirt, flushed face, towers over Private Sarah Chen, 22, seated alone in Army fatigues, olive duffel bag at her feet. He leans forward, finger jabbing the air near her chest, mouth open and ugly. Sarah does not move. Spine vertical. Hands flat on knees. Eyes fixed on the middle distance. Her stillness is absolute — a wall of quiet discipline against his storm. SECONDS 4–9: WIDE MASTER SHOT. The full terminal in frame. Among the ordinary travelers — a man in Army dress uniform sets his coffee cup down in slow motion. A woman in Navy blues folds her book shut. A man in civilian clothes — military unit pins catching the light — pushes back his chair. Heads turn across the gate area, one after another, like a slow current through the room. No urgency. No panic. A tide. SECONDS 9–12: MEDIUM TRACKING SHOT. They stand. All twelve. Simultaneously. Different uniforms, different ages, different branches — a quiet wall of people rising to their feet from scattered seats across the terminal. They turn to face Jake. The surrounding travelers freeze. A child points. A gate agent lifts a phone. SECONDS 12–14: CLOSE ON JAKE'S FACE. He stops mid-sentence. Turns. Sees the first uniform standing. Then the second. Then he rotates slowly and counts. His color drains. SECOND 15 — FINAL FRAME: Wide static shot. Sarah Chen, still seated, perfectly still, spine straight, hands flat. Behind her, twelve uniformed figures have quietly converged in a loose semicircle — Army, Navy, Marines, Air Force — all facing outward. Silent. Immovable. Cinematic color grade: warm shadows, cool blue terminal overhead light, golden window shafts. Continuous motion, no freeze frames. Shallow depth of field on close-ups, deep focus on wide shots. No text overlays. No watermarks. No logos. No narration." Key Sora-specific optimizations made: Broke action into clear second-by-second beats so Sora can track motion states Added explicit camera directions (low angle, push in, wide master, tracking) which Sora responds to Anchored lighting conditions precisely (amber window light, fluorescent overhead) for consistent scene continuity Removed dialogue (Sora doesn't generate synchronized speech reliably) Kept the emotional arc fully visual — the stillness vs. the rising — so no narration is needed to carry the story
Photorealistic cinematic short. Airport terminal, Gate C14, late afternoon. Warm amber light slants through floor-to-...
Photorealistic cinematic short. Airport terminal, Gate C14, late afternoon. Warm amber light slants through floor-to-ceiling windows, cutting across rows of grey terminal seats. The space hums with soft ambient noise — rolling luggage, gate announcements, distant conversations. SECONDS 0–4: LOW ANGLE, SLOW PUSH IN. Jake Morrison, 50s, wrinkled shirt, flushed face, towers over Private Sarah Chen, 22, seated alone in Army fatigues, olive duffel bag at her feet. He leans forward, finger jabbing the air near her chest, mouth open and ugly. Sarah does not move. Spine vertical. Hands flat on knees. Eyes fixed on the middle distance. Her stillness is absolute — a wall of quiet discipline against his storm. SECONDS 4–9: WIDE MASTER SHOT. The full terminal in frame. Among the ordinary travelers — a man in Army dress uniform sets his coffee cup down in slow motion. A woman in Navy blues folds her book shut. A man in civilian clothes — military unit pins catching the light — pushes back his chair. Heads turn across the gate area, one after another, like a slow current through the room. No urgency. No panic. A tide. SECONDS 9–12: MEDIUM TRACKING SHOT. They stand. All twelve. Simultaneously. Different uniforms, different ages, different branches — a quiet wall of people rising to their feet from scattered seats across the terminal. They turn to face Jake. The surrounding travelers freeze. A child points. A gate agent lifts a phone. SECONDS 12–14: CLOSE ON JAKE'S FACE. He stops mid-sentence. Turns. Sees the first uniform standing. Then the second. Then he rotates slowly and counts. His color drains. SECOND 15 — FINAL FRAME: Wide static shot. Sarah Chen, still seated, perfectly still, spine straight, hands flat. Behind her, twelve uniformed figures have quietly converged in a loose semicircle — Army, Navy, Marines, Air Force — all facing outward. Silent. Immovable. Cinematic color grade: warm shadows, cool blue terminal overhead light, golden window shafts. Continuous motion, no freeze frames. Shallow depth of field on close-ups, deep focus on wide shots. No text overlays. No watermarks. No logos. No narration." Key Sora-specific optimizations made: Broke action into clear second-by-second beats so Sora can track motion states Added explicit camera directions (low angle, push in, wide master, tracking) which Sora responds to Anchored lighting conditions precisely (amber window light, fluorescent overhead) for consistent scene continuity Removed dialogue (Sora doesn't generate synchronized speech reliably) Kept the emotional arc fully visual — the stillness vs. the rising — so no narration is needed to carry the story
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