Выставка Seedance 2.0
Просматривайте успешные публичные генерации из сообщества и открывайте любой элемент, чтобы проверить подсказку, настройки и результат.
🎞️ Scene 3 (10–18 sec) Visual: – Highways – Open roads – Countryside / beach / outskirts type area Voice Over: “Vice...
🎞️ Scene 3 (10–18 sec) Visual: – Highways – Open roads – Countryside / beach / outskirts type area Voice Over: “Vice City ke sath highways, open areas aur surrounding locations hongi, jisse players ko zyada freedom milegi aur map natural feel karega.” 🎞️ Scene 4 (18–25 sec) Visual: – Day to night change – Rain / sunset – Time-lapse style clip Voice Over: “GTA 6 ki duniya static nahi hogi.”
In an Disney style animated sequence, the first scene has a giant anthromorphic lioness humanoid gently picking up a ...
In an Disney style animated sequence, the first scene has a giant anthromorphic lioness humanoid gently picking up a human , saying in a rather bubbly voice "Please, come to the safety of my Womb." The second scene shows them slowly swallowing them whole, complementing the taste as they swallow.
Vídeo cinematic realista de 10 segundos. Cena 1 (0–2s): Pessoa sorrindo no trabalho, mas com microexpressão de dor. T...
Vídeo cinematic realista de 10 segundos. Cena 1 (0–2s): Pessoa sorrindo no trabalho, mas com microexpressão de dor. Texto: “Por fora, tudo normal.” Cena 2 (2–4s): Corte para a mesma pessoa sozinha, sentada, mão no estômago, expressão exausta. Texto: “Por dentro, dor constante.” Cena 3 (4–7s): Celular na mão mostrando um app de acompanhamento diário de tratamento digestivo. Texto: “Organização diária muda o jogo.” Cena 4 (7–10s): Texto final forte: “Gastrite não espera. Você também não.” Tons sóbrios, cortes rápidos, narrativa emocional real.
In an Disney style animated sequence, the first scene has a giant anthromorphic lioness humanoid gently picking up a ...
In an Disney style animated sequence, the first scene has a giant anthromorphic lioness humanoid gently picking up a human , saying "Please, come to the safety of my belly." The second scene shows them slowly swallowing them whole, complementing the taste
Two men battle in a vast desert. One is a sorcerer who manipulates sand to form protective blasts (sand-shoots) and o...
Two men battle in a vast desert. One is a sorcerer who manipulates sand to form protective blasts (sand-shoots) and other defensive/attack shapes. The other is a disciplined soldier wielding weapons, attempting to break or disrupt the sorcerer’s sand constructs. The scene blends magical realism with gritty action, set against sweeping dunes, heat shimmer, and a dramatic sky.
A cinematic shot of a futuristic city at sunset with flying cars gliding between glass towers.
A cinematic shot of a futuristic city at sunset with flying cars gliding between glass towers.
Faça um video do vase 3D e se movendo, não altere o formato do vaso ou as cores deles
Faça um video do vase 3D e se movendo, não altere o formato do vaso ou as cores deles
a couple discussing as the sky behind brightens and spins showin the rotation of the earth
a couple discussing as the sky behind brightens and spins showin the rotation of the earth
**ROLE:** You are the "Sutradhar" (Royal Storyteller) and Cinematic AI Director for the *Braj Mahabharat 1000-Day Epi...
**ROLE:** You are the "Sutradhar" (Royal Storyteller) and Cinematic AI Director for the *Braj Mahabharat 1000-Day Epic*. **NARRATIVE STRUCTURE (THE "FRAME" TECHNIQUE):** Every reel must hint at the framing story: **Sage Vaishampayana telling the history to King Janamejaya** (Arjuna’s great-grandson) or **Suta Goswami speaking to the Sages**. This provides the "background conversation" explaining *why* we are seeing this scene. **CHARACTER CONSISTENCY (IMMUTABLE):** * **Krishna:** Dark blue skin, peacock feather, golden dhoti, divine smile, flute. * **Arjuna:** Fair, athletic, long tied hair, silver/leather armor, intense focus. * **Bhishma (Devavrata):** Starts young/handsome, evolves to white-bearded patriarch. White/Silver armor. * **Shantanu:** Regal, muscular, obsessed with love/duty, royal hunting gear. * **Ganga:** Ethereal, flowing water-like white saree, divine glow, mysterious smile. * **Sutradhar (Voiceover):** Deep, resonant, calm, wise (Braj-Hindi mix). **FORMAT (STRICT 9:16 VERTICAL):** 1. **Header:** Video Number | Title | Duration. 2. **Visual Script:** Detailed AI prompts for cinematic shots (Lighting, Angle, Action). 3. **Audio Layer:** * *Ambient:* Sounds (river, war, wind). * *Context Dialogue:* Whisper/Background conversation setting the stage. * *Main Dialogue:* Character lines (Short, Impactful). 4. **Narration (Braj-Hindi):** Poetic, rhythmic, linking the past to the present. 5. **Cliffhanger:** The hook for the next reel. --- ### **DIN 1: SHANTANU KA MOH AUR GANGA KI SHART** **(Day 1: Shantanu's Infatuation and Ganga's Condition)** **Title:** The Beginning of the Great War's Ancestry **Duration:** 55 Seconds #### **VISUAL SCENE BREAKDOWN** **Shot 1 (0:00–0:10) – The Frame (Context)** * **Visual:** A grand yajna (sacrifice) fire. King Janamejaya sits with hands folded. Sage Vaishampayana sits opposite, glowing in firelight. * **Text Overlay:** *The Beginning: Janamejaya’s Question.* **Shot 2 (0:10–0:25) – The Flashback** * **Visual:** Transition through the fire to a lush, ancient forest by the river Ganges. King Shantanu (handsome, royal hunting attire) stands frozen, staring at a woman walking on the water's edge. * **Visual:** Ganga (The Lady) turns. Her face is divine, shining like the moon. She wears white silk that flows like water. **Shot 3 (0:25–0:45) – The Meeting** * **Visual:** Close up on Shantanu’s eyes (filled with desire/awe). Cut to Ganga’s mysterious smile. Shantanu steps forward, bowing slightly. * **Action:** Ganga raises a hand, stopping him, her expression turning serious. **Shot 4 (0:45–0:55) – The Condition** * **Visual:** The sky turns slightly grey/cloudy. Ganga leans in. * **Text Overlay:** *Ek Bhayankar Shart (A Terrible Condition).* --- #### **AUDIO & SCRIPT (BRAJ-HINDI)** **Background Conversation (The Frame):** *(Sound of crackling fire and chanting mantras)* **Janamejaya:** "Hey Rishivar, mere purvajon ka uday kaise hua? Is mahagatha ki neev kahan padi?" *(O Sage, how did my ancestors rise? Where was the foundation of this great saga laid?)* **Vaishampayana (Narrator):** "Rajan, dhyan dharo. Ye katha Hastinapur ke Maharaj Shantanu se prarambh hoti hai..." *(King, pay attention. This story begins with the King of Hastinapur, Shantanu...)* **(Transition to Scene Audio – Birds chirping, River flowing)** **Narration:** "Ganga ke tat par, Maharaj Shantanu ka mann ek devi ne moh liyo. Roop aiso, maano swayam chandni dharti par utar aayi ho." *(On the banks of Ganga, King Shantanu's heart was captured by a goddess. Her beauty was such, as if moonlight itself descended to earth.)* **Dialogue (On Screen):** **Shantanu:** "Devi... main poore Aryavarta ka Samrat hoon. Kya tum meri Rani banogi?" *(Goddess... I am the Emperor of all Aryavarta. Will you be my Queen?)* **Ganga:** "Main banungi, Rajan..." *(I will, Oh King...)* **(Music swells – Mysterious and Tense)** **Ganga:** "Parantu meri ek shart hai. Jis din tumne mujhse prashn kiya, ya mere kisi karya ko roka... main usi shan tumhein tyag dungi." *(But I have one condition. The day you question me, or stop any of my actions... I will leave you that very instant.)* **Shantanu (Desperate):** "Sweekar hai!" *(Accepted!)* --- #### **CLIFFHANGER** **Narration:** "Prem ke vash mein Maharaj ne vachan toh de diyo... par ve nahi jaante thay ki ye vachan unke vansh ko kaise dukh dego." *(Bound by love, the King gave his word... but he did not know how this promise would bring sorrow to his lineage.)* **Final Shot:** Ganga looks at the river, her eyes sad yet determined. Screen fades to black.
Un homme ivoirien charismatique parle face caméra dans une rue animée d’Abidjan. Il est bien habillé style business s...
Un homme ivoirien charismatique parle face caméra dans une rue animée d’Abidjan. Il est bien habillé style business street (chemise propre, montre élégante, baskets ou mocassins). Il s’exprime avec assurance et ambition, ton motivant et réaliste. Derrière lui, on voit l’activité urbaine ivoirienne : boutiques, passants, motos, taxis, panneaux locaux. Lumière naturelle de fin d’après-midi, ambiance chaleureuse africaine. Plan poitrine, caméra stable, léger flou d’arrière-plan (bokeh). Synchronisation parfaite des lèvres avec la parole, gestes naturels des mains. Qualité cinématographique 4K, rendu ultra-réaliste, couleurs chaudes, style documentaire urbain, mouvement fluide.
[Title: Tank Crushing Red Fiat 500 in Mud] [Scene Description] Setting & Location: A desolate, outdoor proving ground...
[Title: Tank Crushing Red Fiat 500 in Mud] [Scene Description] Setting & Location: A desolate, outdoor proving ground or demolition site dominated by deep, wet, churned-up brown mud. In the background, a large yellow Volvo excavator is visible alongside other miscellaneous heavy equipment, framed against a distant horizon. Time & Atmosphere: Midday under bright, natural light with a blue sky partially obscured by scattered white and grey clouds. The atmosphere is dramatic, messy, and focused on intense destruction and power. Sensory Details: The primary texture is thick, clumpy, wet brown mud with tire and track ruts. Visual contrast is high between the dull olive-green military tank, the bright red small car, and the earthy environment. Implied sounds include the loud roaring of the tank engine, the grinding of tracks, and the crunching sound of metal being flattened. [Action & Narrative] Primary Action: A massive military main battle tank (MBT) is actively driving over and crushing a small red passenger car. Subject Movement: The heavy tank moves slowly and relentlessly forward, its tracks and chassis engulfing the small car. The car is progressively flattened, submerged, and demolished into the mud by the immense weight of the tank. Two figures dressed in military gear are observing the action from the open hatches on the top of the tank turret. Implied Story: The scene illustrates an overwhelming demonstration of force and destruction, likely part of a planned event, training exercise, or vehicle disposal. It highlights the vast difference in scale and durability between military and civilian machinery. [Cinematography & Style] Shot Composition: Vertical aspect ratio medium shot. The subjects (tank and car) are positioned prominently in the middle ground, framed by a textured expanse of mud in the foreground that emphasizes the rough terrain. Camera Movement: Static shot or minimal handheld stabilization, focused entirely on capturing the moment of the tank rolling over the car. Perspective is slightly low to exaggerate the tank's size and height. Lighting: Bright, high-key natural daylight. The lighting is direct but slightly softened by the clouds, clearly illuminating the mud textures and details on the vehicles. Color Palette & Grade: Dominant palette consists of earthy browns and tans (mud), muted olive greens (tank), and a punchy contrast from the saturated red of the destroyed car. The grade is realistic and vibrant with high saturation on key colors. [Core Elements & Keywords] Military Tank, Challenger, Crushing Car, Red Fiat 500, Deep Mud, Vehicle Destruction, Heavy Machinery, Demolition, Off-road, Extreme Contrast, Outdoor Destruction, Military Exercise
A super thin skinny guy throwing around a huge muscle-bound bodybuilder in a wrestling bout.
A super thin skinny guy throwing around a huge muscle-bound bodybuilder in a wrestling bout.
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