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“The Sea Beast” in Real Life Seedance 2.0 Guide

2026-07-30T22:12:34.103Z

I CREATED THE ENTIRE VIDEO WITH

SYNTX.AI

Seedance 2.0 Pro is available inside — click the name to get started

Preparing the References

@image1 — Male Character Sheet

Create a multi-angle character sheet for the male character. Example:

Male character sheet

@image2 — Female Character Sheet

Create a multi-angle character sheet for the female character. Example:

Female character sheet

@image3 — Creature

Creature appearance reference

@image4 — Composition Reference for the Advanced Method

You will only need this reference for the separate cinematic wide shot.

Composition reference: character and creature placement, scale, and viewing direction

☁ IMPORTANT After uploading the files, make sure @image1, @image2, and @image3 are linked correctly in the prompt. For the advanced method, also check @image4.

Example of correctly linking references in the prompt

Two Ways to Create the Video

☁ SIMPLE METHOD Two ready-to-use generations. Choose this if you want to recreate the video quickly.

☁ ADVANCED METHOD Adds a separate wide-shot generation for a more cinematic and consistent result.

Option 1. Simple Method

Settings

GENERATION SETTINGS

Model: Seedance 2.0

Mode: Pro

Resolution: 720p

Aspect ratio: 16:9

Duration: 10 seconds

Use these settings for both generations in the simple method

First Generation

Upload:

· @image1 — male character

· @image2 — female character

PROMPT

💬 READY TO COPY Copy the entire prompt below, paste it into Seedance, and check the @image tags.

SCENE CONTEXT

Ultra-photorealistic live-action footage captured on an early-2000s handheld camcorder inside a real underwater housing. Authentic underwater optics, subtle sensor noise, suspended particles, natural bubbles and sunlight. No CGI. No animation.

------------------------------------------------

ACTIVE REFERENCES

@image1 — Male character. Match identity, face, hairstyle, body proportions and clothing exactly.

@image2 — Female character. Match identity, face, hairstyle, body proportions and clothing exactly.

------------------------------------------------

LOCATION

Deep open ocean.

Natural blue water.

The bright surface remains far above.

The ocean feels enormous.

The characters occupy only a small part of the frame.

Large areas of open water remain visible around them.

------------------------------------------------

FORMAT

Exactly three shots.

Shot 1 — 0.0–2.2 s

Shot 2 — 2.2–6.2 s

Shot 3 — 6.2–9.5 s

------------------------------------------------

TIMELINE

SHOT 1

Wide establishing shot.

The sequence begins already underwater.

The male drops backward into the water first.

His back faces downward as he continues sinking.

The female enters a moment later feet first.

She remains higher in the water than the male throughout the shot.

The male remains lower than the female.

The male stays on the right side of the frame.

The female stays on the left side.

Never swap their screen positions.

The female appears briefly disoriented after entering the water.

The male quickly regains orientation and immediately looks toward her with concern.

Large bubbles rise naturally toward the surface.

End state:

The male has stabilized and is preparing to swim toward the female.

------------------------------------------------

SHOT 2

Wide-medium shot.

The camera drifts naturally.

The action continues seamlessly.

The male urgently swims toward the female.

He performs several strong underwater swimming strokes.

He steadily closes the distance during almost the entire shot.

The female is only beginning to recover her orientation.

She is still drifting naturally.

The male reaches her only near the end of the shot.

The male remains lower than the female.

The male stays on the right side.

The female stays on the left side.

End state:

The male has almost reached the female.

------------------------------------------------

SHOT 3

Medium shot.

The action continues immediately from Shot 2.

The male finishes swimming the last short distance and arrives beside the female.

The female has now recovered.

She slowly looks downward.

Her eyes gradually widen with surprise.

She slowly raises one arm and points downward outside the frame.

The male first notices her facial expression.

He then follows her gesture.

His expression changes from concern to alarm.

End immediately after he finishes turning his head.

------------------------------------------------

CAMERA

Natural underwater drift.

No cinematic movement.

Behaves like a diver holding a small consumer camcorder.

------------------------------------------------

PHYSICS

Realistic underwater inertia.

Natural body rotation.

Natural swimming.

Hair and clothing move naturally.

Bubbles always rise upward.

------------------------------------------------

LIGHTING

Natural sunlight only.

Brightness decreases with depth.

------------------------------------------------

STYLE

Authentic live-action.

Looks like genuine underwater camcorder footage.

Maximum photorealism.

No CGI.

------------------------------------------------

OUTPUT

16:9

Real-time playback.

Ultra-photorealistic.

Second Generation

Upload:

· @image1 — male character

· @image2 — female character

· @image3 — creature

PROMPT

💬 READY TO COPY Copy the entire prompt below, paste it into Seedance, and check the @image tags.

SCENE CONTEXT

Ultra-photorealistic live-action underwater footage captured on an early-2000s consumer camcorder inside a waterproof housing.

No CGI.

No stylization.

No cinematic action.

------------------------------------------------

ACTIVE REFERENCES

@image1 — Male character.

Match identity, face, body proportions and clothing exactly.

@image2 — Female character.

Match identity, face, body proportions and clothing exactly.

@image3 — Creature appearance inspiration.

Use this reference only as design inspiration.

Preserve the overall anatomy, proportions and recognizable silhouette.

Do not reproduce the exact surface details.

Create a new ultra-photorealistic marine predator with natural biological textures.

It must look like a real deep-sea animal captured by a camera, not like a CGI creature.

------------------------------------------------

LOCATION

Deep open ocean.

Bright surface far above.

Infinite abyss below.

------------------------------------------------

GLOBAL RULES

Female always remains left.

Male always remains right.

Their positions never swap.

The humans always remain side by side.

The distance between them never changes.

They always move as a single pair.

The humans continuously make subtle natural swimming movements to maintain neutral buoyancy.

They never appear frozen or motionless.

They do not travel through the water.

The creature always remains far below the humans.

The creature is vastly larger than the humans.

The size relationship never changes.

The creature is always partially hidden by depth haze, suspended particles and underwater light absorption.

Its features are never perfectly sharp.

Large areas of empty open water dominate every shot.

The humans remain the primary subject.

The creature is never presented as a hero shot or portrait.

------------------------------------------------

CAMERA RULES

The camera remains completely static during every shot.

No camera drift.

No camera repositioning.

No zoom.

No whip pan.

Only natural underwater micro-shake.

------------------------------------------------

LIGHTING

Natural sunlight only.

Soft volumetric light rays.

Real underwater light absorption.

Visibility naturally decreases with depth.

------------------------------------------------

STYLE

Documentary realism.

Maximum photorealism.

Looks like genuine underwater footage.

The creature must look biologically believable.

Its skin has natural imperfections, subtle asymmetry and realistic organic textures.

Avoid the appearance of CGI, concept art or digital creature rendering.

------------------------------------------------

FORMAT

0.0–3.0 s — Shot 1

3.0–6.0 s — Shot 2

6.0–9.5 s — Shot 3

Exactly 3 shots.

------------------------------------------------

SHOT 1

Extreme long establishing shot.

The camera is extremely far from the humans.

The humans appear as tiny distant silhouettes, barely larger than specks against the bright surface.

They serve only as a scale reference for the creature.

Female left.

Male right.

They remain close together.

The creature is already fully present before the shot begins.

Its enormous head is fully visible in profile.

It occupies the lower-right area of the frame.

The head does not enter the frame.

The head does not move.

The creature silently watches the humans.

Most of the head is visible, but depth haze, suspended particles and underwater light absorption soften its details.

The full head is never perfectly sharp.

The rest of the body disappears into the abyss beyond the frame.

The humans gently maintain position with small corrective swimming movements.

They do not travel forward or backward.

The creature remains perfectly still.

No swimming.

No rotation.

No head movement.

------------------------------------------------

SHOT 2

Wide shot.

The camera is several meters below the humans looking upward.

Only the two humans are visible.

No creature appears in the frame.

Female left.

Male right.

The camera is completely locked-off.

The framing never changes.

The camera does not drift, pan, tilt, rotate or translate.

The humans remain shoulder-to-shoulder throughout the shot.

The distance between them never changes.

They move together as a single pair.

Their faces are faintly recognizable but still distant.

They continuously make subtle natural swimming movements to maintain neutral buoyancy and hold position.

They do not travel forward or backward.

The humans occupy only a small area near the upper part of the frame.

The remaining frame is empty open ocean.

------------------------------------------------

SHOT 3

Rear wide shot.

Camera behind the humans.

Female left.

Male right.

The humans occupy the upper-left portion of the frame.

The creature is already present before the shot begins.

The creature faces almost directly toward the camera.

Its gaze reaches both the humans and the viewer.

Its enormous head dominates the entire right side of the frame.

The humans appear smaller than the creature’s mouth.

Large portions of the head extend beyond the frame edges.

The camera cannot capture the entire head.

The creature is more frontal than in Shot 1, but it is still not a portrait.

The creature never changes its orientation.

It never swims.

It never rotates.

It never turns its head.

Its only movement is an almost imperceptible backward translation deeper into the abyss while maintaining exactly the same orientation.

Depth haze gradually obscures the creature.

Very subtle blue bioluminescent speckles are visible across parts of its scales.

The glow is extremely faint.

It never illuminates the surrounding water.

Eventually only a faint silhouette remains before disappearing into darkness.

The humans continue making subtle corrective swimming movements while watching the creature disappear.

------------------------------------------------

OUTPUT

16:9

Real-time playback.

Option 2. Advanced Method

For anyone who wants a more cinematic and consistent wide shot.

Settings for the Separate Wide Shot

GENERATION SETTINGS

Model: Seedance 2.0

Mode: Pro

Resolution: 720p

Aspect ratio: 16:9

Duration: 4 seconds

Separate Wide-Shot Generation

Upload:

· @image1 — male character

· @image2 — female character

· @image3 — creature

· @image4 — composition reference

Composition reference for the separate wide shot

PROMPT

💬 READY TO COPY Copy the entire prompt below, paste it into Seedance, and check the @image tags.

ACTIVE REFERENCES

@image1 — Male appearance reference only.

Use only for:

- identity

- hairstyle

- body proportions

- clothing

- silhouette

The male is extremely far from the camera.

Do not preserve facial detail.

His face is naturally unreadable because of the extreme distance.

Do not enlarge him.

@image2 — Female appearance reference only.

Use only for:

- identity

- hairstyle

- body proportions

- clothing

- silhouette

The female is extremely far from the camera.

Do not preserve facial detail.

Her face is naturally unreadable because of the extreme distance.

Do not enlarge her.

@image3 — Creature appearance reference only.

Use only for:

- anatomy

- proportions

- silhouette

- head shape

- skin

- scales

- texture

- eyes

- subtle blue bioluminescence

- half-open mouth

Do not copy background or composition.

@image4 — Scene layout reference only.

Treat @image4 as a blocking diagram.

Use it only for:

- camera position

- framing

- composition

- relative scale

- relative distance

- depth relationship

DO NOT copy:

- background

- lighting

- colors

- textures

- labels

- arrows

- text

- style

The two people must remain exactly as small as shown in the upper-left corner of @image4.

Their combined size must match the size shown in @image4.

Maintaining their size is more important than preserving facial details.

Generate a continuous 4-second ultra-photorealistic live-action underwater shot.

Static locked camera.

The two people are suspended just beneath the ocean surface in the upper-left corner of the frame.

The female remains on the left.

The male remains on the right.

They remain extremely tiny during the entire shot.

Their bodies occupy less than 2% of the entire frame.

Most viewers should not be able to recognize facial features because of the distance.

The two people stay very close together.

They slowly drift with gentle natural underwater movement.

They remain approximately in the same position throughout the shot.

The enormous creature remains deep in the abyss in the lower-right corner.

Its appearance must match @image3.

The creature is almost completely hidden by darkness.

It should feel like part of the abyss itself.

Only its gigantic silhouette is visible.

Only a faint outline of its head can be distinguished.

Only an extremely subtle blue bioluminescent glow is visible.

Almost no sunlight reaches the creature.

Only a few weak scattered rays softly touch tiny parts of its body.

The creature is never fully revealed.

It remains almost perfectly motionless.

Only extremely subtle breathing and tiny natural underwater movement reveal that it is alive.

Generate a completely new underwater environment.

Realistic underwater haze.

Natural suspended particles.

Physically accurate underwater lighting.

The frame consists mostly of empty open water.

The enormous empty space between the two people and the creature emphasizes the immense difference in scale.

Authentic documentary footage.

Early-2000s consumer camcorder inside an underwater housing.

No scuba gear.

No diving masks.

No oxygen tanks.

No fins.

No CGI.

No cinematic camera movement.

No stylization.

Photorealistic.

Editing

Simple Method

1. Place the first generation on the timeline.

2. Place the second generation immediately after it.

3. Trim unwanted endings and any unsuccessful transitions.

Advanced Method

1. Place the first generation on the timeline.

2. At the beginning of the second generation, replace its opening wide shot with the separate 4-second Pro generation.

3. After the wide shot, keep Shots 2 and 3 from the second generation.

4. Trim unwanted endings and any unsuccessful transitions.

☁ DONE Add the music, cut the video to the beat.

«Морской монстр» в реальной жизни Гайд по Seedance 2.0

2026-07-30T22:02:25.074Z

ВЕСЬ РОЛИК Я СОБРАЛ ЧЕРЕЗ

SYNTX.AI

Seedance 2.0 Pro уже внутри — переходите по названию

Подготовка референсов

@image1 — карта персонажа мужчины

Создаём карту персонажа мужчины в нескольких ракурсах. Пример:

Карта персонажа мужчины

@image2 — карта персонажа девушки

Создаём карту персонажа девушки в нескольких ракурсах. Пример:

Карта персонажа девушки

@image3 — монстр

Референс внешности монстра

@image4 — композиция для продвинутого варианта

Этот референс понадобится только для отдельного красивого общего плана.

Композиционный референс: положение людей, монстра, масштаб и направление взгляда

☁ ВАЖНО После загрузки файлов проверьте, что теги @image1, @image2 и @image3 правильно определились в промпте. В продвинутом варианте также проверьте @image4.

Пример правильной привязки референсов к промпту

Два варианта создания видео

☁ ПРОСТОЙ ВАРИАНТ Две готовые генерации. Подойдёт, если хотите быстро повторить ролик.

☁ ПРОДВИНУТЫЙ ВАРИАНТ Дополнительная генерация общего плана. Кадр получается красивее и стабильнее.

Вариант 1. Простой способ

Настройки

НАСТРОЙКИ ГЕНЕРАЦИИ

Модель: Seedance 2.0

Режим: Pro

Разрешение: 720p

Формат: 16:9

Длительность: 10 секунд

Настройки для обеих генераций простого варианта

Seedance 2.0 Pro

Первая генерация

Загружаем:

· @image1 — мужчина

· @image2 — девушка

ПРОМПТ

💬 МОЖНО КОПИРОВАТЬ Выделите весь текст ниже, вставьте его в Seedance и проверьте теги @image.

SCENE CONTEXT

------------------------------------------------

ACTIVE REFERENCES

@image1 — Male character. Match identity, face, hairstyle, body proportions and clothing exactly.

@image2 — Female character. Match identity, face, hairstyle, body proportions and clothing exactly.

------------------------------------------------

LOCATION

Deep open ocean.

Natural blue water.

The bright surface remains far above.

The ocean feels enormous.

The characters occupy only a small part of the frame.

Large areas of open water remain visible around them.

------------------------------------------------

FORMAT

Exactly three shots.

Shot 1 — 0.0–2.2 s

Shot 2 — 2.2–6.2 s

Shot 3 — 6.2–9.5 s

------------------------------------------------

TIMELINE

SHOT 1

Wide establishing shot.

The sequence begins already underwater.

The male drops backward into the water first.

His back faces downward as he continues sinking.

The female enters a moment later feet first.

She remains higher in the water than the male throughout the shot.

The male remains lower than the female.

The male stays on the right side of the frame.

The female stays on the left side.

Never swap their screen positions.

The female appears briefly disoriented after entering the water.

The male quickly regains orientation and immediately looks toward her with concern.

Large bubbles rise naturally toward the surface.

End state:

The male has stabilized and is preparing to swim toward the female.

------------------------------------------------

SHOT 2

Wide-medium shot.

The camera drifts naturally.

The action continues seamlessly.

The male urgently swims toward the female.

He performs several strong underwater swimming strokes.

He steadily closes the distance during almost the entire shot.

The female is only beginning to recover her orientation.

She is still drifting naturally.

The male reaches her only near the end of the shot.

The male remains lower than the female.

The male stays on the right side.

The female stays on the left side.

End state:

The male has almost reached the female.

------------------------------------------------

SHOT 3

Medium shot.

The action continues immediately from Shot 2.

The male finishes swimming the last short distance and arrives beside the female.

The female has now recovered.

She slowly looks downward.

Her eyes gradually widen with surprise.

She slowly raises one arm and points downward outside the frame.

The male first notices her facial expression.

He then follows her gesture.

His expression changes from concern to alarm.

End immediately after he finishes turning his head.

------------------------------------------------

CAMERA

Natural underwater drift.

No cinematic movement.

Behaves like a diver holding a small consumer camcorder.

------------------------------------------------

PHYSICS

Realistic underwater inertia.

Natural body rotation.

Natural swimming.

Hair and clothing move naturally.

Bubbles always rise upward.

------------------------------------------------

LIGHTING

Natural sunlight only.

Brightness decreases with depth.

------------------------------------------------

STYLE

Authentic live-action.

Looks like genuine underwater camcorder footage.

Maximum photorealism.

No CGI.

------------------------------------------------

OUTPUT

16:9

Real-time playback.

Ultra-photorealistic.

Вторая генерация

Загружаем:

· @image1 — мужчина

· @image2 — девушка

· @image3 — монстр

ПРОМПТ

💬 МОЖНО КОПИРОВАТЬ Выделите весь текст ниже, вставьте его в Seedance и проверьте теги @image.

SCENE CONTEXT

Ultra-photorealistic live-action underwater footage captured on an early-2000s consumer camcorder inside a waterproof housing.

No CGI.

No stylization.

No cinematic action.

------------------------------------------------

ACTIVE REFERENCES

@image1 — Male character.

Match identity, face, body proportions and clothing exactly.

@image2 — Female character.

Match identity, face, body proportions and clothing exactly.

@image3 — Creature appearance inspiration.

Use this reference only as design inspiration.

Preserve the overall anatomy, proportions and recognizable silhouette.

Do not reproduce the exact surface details.

Create a new ultra-photorealistic marine predator with natural biological textures.

It must look like a real deep-sea animal captured by a camera, not like a CGI creature.

------------------------------------------------

LOCATION

Deep open ocean.

Bright surface far above.

Infinite abyss below.

------------------------------------------------

GLOBAL RULES

Female always remains left.

Male always remains right.

Their positions never swap.

The humans always remain side by side.

The distance between them never changes.

They always move as a single pair.

The humans continuously make subtle natural swimming movements to maintain neutral buoyancy.

They never appear frozen or motionless.

They do not travel through the water.

The creature always remains far below the humans.

The creature is vastly larger than the humans.

The size relationship never changes.

The creature is always partially hidden by depth haze, suspended particles and underwater light absorption.

Its features are never perfectly sharp.

Large areas of empty open water dominate every shot.

The humans remain the primary subject.

The creature is never presented as a hero shot or portrait.

------------------------------------------------

CAMERA RULES

The camera remains completely static during every shot.

No camera drift.

No camera repositioning.

No zoom.

No whip pan.

Only natural underwater micro-shake.

------------------------------------------------

LIGHTING

Natural sunlight only.

Soft volumetric light rays.

Real underwater light absorption.

Visibility naturally decreases with depth.

------------------------------------------------

STYLE

Documentary realism.

Maximum photorealism.

Looks like genuine underwater footage.

The creature must look biologically believable.

Its skin has natural imperfections, subtle asymmetry and realistic organic textures.

Avoid the appearance of CGI, concept art or digital creature rendering.

------------------------------------------------

FORMAT

0.0–3.0 s — Shot 1

3.0–6.0 s — Shot 2

6.0–9.5 s — Shot 3

Exactly 3 shots.

------------------------------------------------

SHOT 1

Extreme long establishing shot.

The camera is extremely far from the humans.

The humans appear as tiny distant silhouettes, barely larger than specks against the bright surface.

They serve only as a scale reference for the creature.

Female left.

Male right.

They remain close together.

The creature is already fully present before the shot begins.

Its enormous head is fully visible in profile.

It occupies the lower-right area of the frame.

The head does not enter the frame.

The head does not move.

The creature silently watches the humans.

Most of the head is visible, but depth haze, suspended particles and underwater light absorption soften its details.

The full head is never perfectly sharp.

The rest of the body disappears into the abyss beyond the frame.

The humans gently maintain position with small corrective swimming movements.

They do not travel forward or backward.

The creature remains perfectly still.

No swimming.

No rotation.

No head movement.

------------------------------------------------

SHOT 2

Wide shot.

The camera is several meters below the humans looking upward.

Only the two humans are visible.

No creature appears in the frame.

Female left.

Male right.

The camera is completely locked-off.

The framing never changes.

The camera does not drift, pan, tilt, rotate or translate.

The humans remain shoulder-to-shoulder throughout the shot.

The distance between them never changes.

They move together as a single pair.

Their faces are faintly recognizable but still distant.

They continuously make subtle natural swimming movements to maintain neutral buoyancy and hold position.

They do not travel forward or backward.

The humans occupy only a small area near the upper part of the frame.

The remaining frame is empty open ocean.

------------------------------------------------

SHOT 3

Rear wide shot.

Camera behind the humans.

Female left.

Male right.

The humans occupy the upper-left portion of the frame.

The creature is already present before the shot begins.

The creature faces almost directly toward the camera.

Its gaze reaches both the humans and the viewer.

Its enormous head dominates the entire right side of the frame.

The humans appear smaller than the creature’s mouth.

Large portions of the head extend beyond the frame edges.

The camera cannot capture the entire head.

The creature is more frontal than in Shot 1, but it is still not a portrait.

The creature never changes its orientation.

It never swims.

It never rotates.

It never turns its head.

Its only movement is an almost imperceptible backward translation deeper into the abyss while maintaining exactly the same orientation.

Depth haze gradually obscures the creature.

Very subtle blue bioluminescent speckles are visible across parts of its scales.

The glow is extremely faint.

It never illuminates the surrounding water.

Eventually only a faint silhouette remains before disappearing into darkness.

The humans continue making subtle corrective swimming movements while watching the creature disappear.

------------------------------------------------

OUTPUT

16:9

Real-time playback.

Вариант 2. Продвинутый способ

Для тех, кто хочет получить более красивый и стабильный кадр с общим планом.

Настройки отдельного общего плана

НАСТРОЙКИ ГЕНЕРАЦИИ

Модель: Seedance 2.0

Режим: Pro

Разрешение: 720p

Формат: 16:9

Длительность: 4 секунды

Отдельная генерация общего плана

Загружаем:

· @image1 — мужчина

· @image2 — девушка

· @image3 — монстр

· @image4 — композиционный референс

Композиционный референс для отдельного общего плана

ПРОМПТ

💬 МОЖНО КОПИРОВАТЬ Выделите весь текст ниже, вставьте его в Seedance и проверьте теги @image.

ACTIVE REFERENCES

@image1 — Male appearance reference only.

Use only for:

- identity

- hairstyle

- body proportions

- clothing

- silhouette

The male is extremely far from the camera.

Do not preserve facial detail.

His face is naturally unreadable because of the extreme distance.

Do not enlarge him.

@image2 — Female appearance reference only.

Use only for:

- identity

- hairstyle

- body proportions

- clothing

- silhouette

The female is extremely far from the camera.

Do not preserve facial detail.

Her face is naturally unreadable because of the extreme distance.

Do not enlarge her.

@image3 — Creature appearance reference only.

Use only for:

- anatomy

- proportions

- silhouette

- head shape

- skin

- scales

- texture

- eyes

- subtle blue bioluminescence

- half-open mouth

Do not copy background or composition.

@image4 — Scene layout reference only.

Treat @image4 as a blocking diagram.

Use it only for:

- camera position

- framing

- composition

- relative scale

- relative distance

- depth relationship

DO NOT copy:

- background

- lighting

- colors

- textures

- labels

- arrows

- text

- style

The two people must remain exactly as small as shown in the upper-left corner of @image4.

Their combined size must match the size shown in @image4.

Maintaining their size is more important than preserving facial details.

Generate a continuous 4-second ultra-photorealistic live-action underwater shot.

Static locked camera.

The two people are suspended just beneath the ocean surface in the upper-left corner of the frame.

The female remains on the left.

The male remains on the right.

They remain extremely tiny during the entire shot.

Their bodies occupy less than 2% of the entire frame.

Most viewers should not be able to recognize facial features because of the distance.

The two people stay very close together.

They slowly drift with gentle natural underwater movement.

They remain approximately in the same position throughout the shot.

The enormous creature remains deep in the abyss in the lower-right corner.

Its appearance must match @image3.

The creature is almost completely hidden by darkness.

It should feel like part of the abyss itself.

Only its gigantic silhouette is visible.

Only a faint outline of its head can be distinguished.

Only an extremely subtle blue bioluminescent glow is visible.

Almost no sunlight reaches the creature.

Only a few weak scattered rays softly touch tiny parts of its body.

The creature is never fully revealed.

It remains almost perfectly motionless.

Only extremely subtle breathing and tiny natural underwater movement reveal that it is alive.

Generate a completely new underwater environment.

Realistic underwater haze.

Natural suspended particles.

Physically accurate underwater lighting.

The frame consists mostly of empty open water.

The enormous empty space between the two people and the creature emphasizes the immense difference in scale.

Authentic documentary footage.

Early-2000s consumer camcorder inside an underwater housing.

No scuba gear.

No diving masks.

No oxygen tanks.

No fins.

No CGI.

No cinematic camera movement.

No stylization.

Photorealistic.

Монтаж

Простой вариант

1. Ставим первую генерацию.

2. Сразу после неё ставим вторую генерацию.

3. Обрезаем лишние хвосты и неудачные переходы.

Продвинутый вариант

1. Ставим первую генерацию.

2. В начале второй генерации заменяем первый общий план на отдельную 4-секундную Pro-генерацию.

3. После общего плана оставляем второй и третий кадры из второй генерации.

4. Обрезаем лишние хвосты и неудачные переходы.

☁ ГОТОВО Накладываем музыку, подгоняем монтаж под ритм

Prompt for an Open-Ocean Shark Video

2026-07-23T23:55:32.083Z

I created the entire video in SYNTX.AI

using the Seedance 2.0 Pro model.

In this guide, we'll go through the creation of the entire video. The final result consists of a single continuous generation.

1. Preparing the Files

Face Reference

Create a 3×3 face reference grid on a white background with different angles.

(Take clear front and side profile photos in good lighting, then use any AI image generator to create a 3×3 reference sheet from them.)

Step 2: Generating in Seedance 2.0 (Settings & Prompt)

Settings:

Video → Seedance 2.0 → Pro Mode → 720p → 9:16

Duration: 15 seconds

Upload the following image:

@image1 — 3×3 face reference sheet

IMPORTANT!

After uploading the image, make sure the @image1 tag has been detected correctly inside the prompt.

ПРОМПТ ДЛЯ ВИДЕО

FORMAT: Vertical 9:16, 15 seconds, one continuous handheld shot, no cuts. Raw amateur selfie-style underwater footage: Person A films himself on a phone held at arm's length, front-camera angle. The phone itself is never visible in frame. Natural handheld wobble and drift, like real amateur footage, no stabilization, not cinematic.

SETTING: Crystal-clear deep open ocean. The sunlit surface is only a bright band at the very top edge of frame, with a clear gap of blue water between the swimmers and the surface. No boat, reef, seabed, or coastline — endless blue in all directions.

CHARACTERS — exactly two people in the entire video, arranged in three depth layers:

PERSON A (the subject, filming himself) — FOREGROUND.
Face and identity exactly from @image1. He wears the mask and snorkel from @image1 in every single frame where he is visible — never bare-faced, the mask never comes off. He is wearing a wetsuit throughout the entire video. Person A fills the near foreground like a typical selfie: masked face and upper body clearly visible, one arm extending off-screen toward the camera. His free hand never enters the frame; Person A never points or gestures. Calm, awed expression.

PERSON B (the other freediver) — MIDGROUND, a few meters behind Person A. A completely different, unrelated person: different face, different hair, different build, never resembling @image1. Wears a full-length wetsuit in a clearly different color. He hovers upright and vertical — head up, body straight, legs down, gently finning to hold position, small natural sway — alive and relaxed, never rigid or frozen. Person B is the ONLY person who ever points or gestures in this video.

WHALE — BACKGROUND, deep in the blue far behind Person B. One enormous humpback whale gliding in slow continuous motion — body undulating, pectoral fin drifting, tail fluke sweeping — never still, never near the surface. A wide, obvious gap of open water always separates Person B from the whale; they never touch.

BREATHING: both are freedivers on breath-hold — only occasional sparse bubbles on a rare exhale, never a constant scuba-like stream.

TIMELINE:

0–4.5s — Steady selfie framing: Person A in the foreground, Person B hovering in the midground, the whale gliding deep in the background. Person A keeps his eyes on the whale, not the camera, while casually filming himself. Person B gazes out at the whale, absorbed. Serene, awe-inspiring mood. The camera holds this direction with only natural handheld drift — no panning.

4.5–7.5s — Person B slowly turns from the whale toward the camera, then his gaze catches something behind Person A, behind the camera. His expression sharpens — alert, focused, mildly concerned, not panicked — and he raises one arm and points urgently past Person A's shoulder, toward the space behind the camera. A short muffled gasp is heard. Person A notices Person B's gesture, stops watching the whale and reacts with brief, mild, natural surprise: slightly widened curious eyes behind the mask — no exaggerated fear.

7.5–8.5s — Triggered by the point, Person A whips the phone around fast toward the pointed direction: strong motion blur, brief lost focus. Person A, Person B and the whale all sweep out of frame and never reappear.

8.5–15s — The camera now faces exactly the pointed direction: open, empty blue water, no surface nearby. A large shark appears dead-center, swimming straight at the lens, growing until it fills the frame — one tense beat of apparent collision — then it merely bumps its closed snout softly against the lens, harmless and clumsy. The camera jolts: a dull muffled thud, brief shake and blur. The shark drifts back, startled, then calmly turns and swims away into the blue. No chase, no bite. The video ends on relief, not fear.

AUDIO: quiet underwater ambience, distant whale calls, one muffled gasp around second 7, one muted thud at the shark bump. No dialogue, no music.

AVOID: visible phone, camera, GoPro, selfie stick, or any head/mask-mounted device; any third person; Person B resembling or sharing Person A's face; Person A bare-faced or without mask and snorkel at any moment; Person A pointing or gesturing; Person B touching, riding, or floating on the whale; whale at or near the surface; constant scuba-style bubble stream; shark biting, open jaws, teeth, blood, actual attack; multiple sharks or whales; screaming, panicked, overacted faces; boat, reef, seabed, coastline; cuts, text, subtitles, watermark, music.

https://t.me/eyeai

Промпт для видео с акулой в открытом в океане

2026-07-23T23:50:19.784Z

Я всё делал в SYNTX.AI

Использовал нейросеть Seedance 2.0 Pro.

В этом гайде разберем создание всего ролика. Он состоит из одной непрерывной генерации.

1. Подготовка файлов

Фото лица

Подготавливаем сетку лица 3×3 на белом фоне в разных ракурсах.
(фотографируемся в анфас и профиль при хорошем осве и просим любую нейросеть для создания фото сделать из них сетку ракурсов 3х3)

Шаг 2: Генерация в Seedance 2.0 (Настройки и Промпт)

Настройки:

Видео → Seedance 2.0 → Режим Pro → 720p → 9:16

Длительность: 15 секунд

Загружаем фото:

@image1 — сетка лица 3×3

ВАЖНО!

После загрузки файлов обязательно проверьте, что теги @image1 правильно определились в промпте.

ПРОМПТ ДЛЯ ВИДЕО

CHARACTERS — exactly two people in the entire video, arranged in three depth layers:

BREATHING: both are freedivers on breath-hold — only occasional sparse bubbles on a rare exhale, never a constant scuba-like stream.

TIMELINE:

AUDIO: quiet underwater ambience, distant whale calls, one muffled gasp around second 7, one muted thud at the shark bump. No dialogue, no music.

https://t.me/eyeai

How to Create a POV Astronaut Video with Seedance 2.0

2026-07-11T16:37:46.352Z

I created everything using SYNTX.AI

This video was generated using Seedance 2.0 Pro.

In this guide, we'll recreate the entire video. It consists of one single continuous generation.

1. Preparing the Files

Face Reference

Create a 3×3 face sheet on a white background using different angles.

This helps the AI keep your facial features consistent throughout the entire video.

Reference Video

Next, record a short reference video.

The sequence should be simple:

start by filming yourself;
slowly rotate the camera away;
keep the movement smooth and natural.

This video will only be used as a camera movement reference.

IMPORTANT: Avoid sudden movements. The smoother your camera motion is, the more stable the final generation will be.

Step 2: Generating in Seedance 2.0 (Settings & Prompt)

Settings

Video → Seedance 2.0 → Pro Mode → 720p → 9:16

Duration: 15 seconds

Upload the files in this order:

@image1 — 3×3 face sheet
@video1 — camera movement reference video

IMPORTANT!

After uploading, make sure @image1 and @video1 are correctly linked inside the prompt.

VIDEO PROMPT

RAW AMATEUR ASTRONAUT EVA FOOTAGE, one single continuous unbroken shot.

REFERENCES: Use @image1 as the astronaut identity reference. The astronaut must look like the person from @image1: same facial structure, proportions, hairstyle, skin tone and natural appearance. Photorealistic identity, no stylization. Use @video1 only as a reference for natural camera movement, timing and body motion. Follow the natural pacing and floating rhythm from @video1. Copy only movement and timing. Do not copy the background, objects, colors, clothing or environment from @video1.

STYLE: Authentic amateur astronaut EVA footage, like a real accidental recording during a spacewalk. Not cinematic. Not a movie scene. Not CGI. Not a polished render. Natural handheld imperfections: subtle micro-shake, small human corrections, slight exposure changes, realistic sensor noise and grain. The camera feels physically held by the astronaut.

ASTRONAUT: The astronaut wears a realistic modern generic EVA spacesuit. The suit has a neutral international design. No country identity. No logos. No text. Any visible identification patch must be a plain white rectangle with no symbols, colors or markings. No American flag. No national flags. The astronaut remains calm and realistic.

CAMERA: The astronaut is physically floating close to the International Space Station. The astronaut does not fly away from the station. The camera movement comes only from slowly turning the body and arm. No independent camera movement. No drone-like movement. No camera flying through space.

ACTION: 0–3 seconds: Close POV view of the astronaut. The face is visible through a clear helmet visor. The astronaut looks calm. Then the astronaut notices something unusual and becomes slightly concerned. No waving. No posing. 3–6 seconds: The astronaut slowly turns the camera away from the face. The ISS appears nearby. Realistic station modules, solar panels and structures are visible. The camera remains close to the station. Then Earth comes into view. 6 seconds: A sudden powerful distant atmospheric explosion appears on Earth's surface. The explosion must be clearly visible from orbit. It should look like a real large-scale detonation seen from space: bright white-yellow flash, expanding fireball, brief rising cloud formation. Not a tiny sparkle. Not a star-like point. The astronaut instinctively reacts to the sudden brightness: the free gloved hand briefly enters the foreground, partially covering the camera for a moment, then quickly moves away. The movement is subtle and natural. 7–15 seconds: More distant detonations begin appearing across different visible regions of Earth. Each explosion is clearly readable from orbit. They are separate atmospheric detonations happening in different locations. The number of explosions gradually increases. The astronaut remains silent and calm. The camera stays focused on Earth. The footage ends abruptly.

ENVIRONMENT: Realistic low Earth orbit. The International Space Station is nearby. Earth fills about half of the frame. Visible: curved horizon, thin blue atmosphere, clouds, oceans, continents. Natural colors. Deep black space with subtle realistic stars.

NEGATIVE: national flags, logos, mission patches, text, visible phone, visible camera, GoPro, helmet camera, selfie stick, camera flying away, drone movement, astronaut leaving station, cinematic movie, Hollywood style, CGI render, video game graphics, tiny invisible flashes, small star-like lights, giant unrealistic explosions, planet exploding, Earth breaking apart, asteroid, meteor, laser, alien spacecraft, panic, screaming, dramatic acting, cuts, transitions, montage.

https://t.me/eyeai

Как снять POV космонавта с видом на конец света

2026-07-11T16:34:31.355Z

Я всё делал в SYNTX.AI

Использовал нейросеть Seedance 2.0 Pro.

В этом гайде разберем создание всего ролика. Он состоит из одной непрерывной генерации.

1. Подготовка файлов

Фото лица

Подготавливаем сетку лица 3×3 на белом фоне в разных ракурсах.

Это позволит нейросети лучше сохранять вашу внешность на протяжении всей генерации.

Референсное видео

Теперь нужно как и для прошлых видео снять короткое референсное видео.

В нем:

сначала снимаете себя;
затем медленно поворачиваете камеру в сторону;
движение должно быть максимально плавным и естественным.

Именно это видео будет использоваться только как референс движения камеры.

ВАЖНО: референсное видео должно быть без резких движений. Чем спокойнее движение камеры, тем стабильнее получится генерация.

Шаг 2: Генерация в Seedance 2.0 (Настройки и Промпт)

Настройки:

Видео → Seedance 2.0 → Режим Pro → 720p → 9:16

Длительность: 15 секунд

Загружаем файлы в таком порядке:

@image1 — сетка лица 3×3
@video1 — референсное видео с движением камеры

ВАЖНО!

После загрузки файлов обязательно проверьте, что теги @image1 и @video1 правильно определились в промпте.

ПРОМПТ ДЛЯ ВИДЕО

RAW AMATEUR ASTRONAUT EVA FOOTAGE, one single continuous unbroken shot.

https://t.me/eyeai

How to Shoot a POV Video with a Dragon Using Seedance 2.0

2026-06-27T19:44:02.171Z

I did everything in SYNTX AI.

used:

Seedance 2.0 Pro
ChatGPT Image 2.0

In this guide, we'll break down a video made from two separate generations.

The first segment is a horizontal BTS video where a camera on a tripod films you near a castle while a huge dragon destroys a tower.
The second segment is a vertical video shot on a phone, where you film the dragon and its mysterious master in the distance.

1. Preparing the References

For this project you'll need 4 images and 1 video reference.

Preparing the Face

First, you need to prepare a photo of your face as a 3×3 grid on a white background.

This file will be uploaded as:

@Image1 — Face Reference

Preparing the Clothing

Now you'll need a separate clothing reference.

In my example, a specific outfit is used, but you can use absolutely any clothing.

The main thing is that it's clearly visible in the photo.

This file will be uploaded as:

@Image2 — Clothing Reference

Preparing the Location

The next reference is the location itself.

This project uses an old stone castle, but it can also be replaced with almost any other location if you want to change the story of the video.

This file will be uploaded as:

@Image3 — Location Reference

Preparing the Dragon

Now you'll need an image of the dragon itself.

This reference is responsible for the creature's appearance in both videos.

This file will be uploaded as:

@Image4 — Dragon Reference

Preparing the Video Reference

For the second video, you'll additionally need a short video reference.

It's used exclusively for camera movement.

The neural network will replicate:

hand movements;
switching between the front and rear cameras;
digital zoom;
the pace of filming.

At the same time, the appearance of the person, clothing, lighting, and surroundings from the video will not be used.

This file will be uploaded as:

@Video1 — Motion Reference

2. First Segment — Near the Castle

Settings:

Video → Seedance 2.0 → Pro Mode → 720p → Aspect Ratio 16:9 → Duration 11 sec.

Upload the files in order:

@Image1 — Face Reference
@Image2 — Clothing Reference
@Image3 — Location Reference
@Image4 — Dragon Reference

⚠️ IMPORTANT!

Before starting the generation, be sure to make sure that each reference is linked to the correct tag within the prompt. If you mix up even one file, the result will be completely different.

PROMPT FOR THE FIRST SEGMENT

Total: 11s / Single continuous static smartphone shot / 16:9. Style: raw ungraded amateur smartphone footage, real behind-the-scenes phone recording. Everyday realism, natural imperfections, mild auto-exposure shifts, autofocus hunting, motion blur on fast movement, light compression noise. 35mm normal lens, no fisheye. Heavy overcast cold gray flat light, light rain, damp hazy air, blown-out white sky, slightly underexposed foreground. ZERO cinematic look, ZERO CGI look — like a clip someone shot on a phone by accident. Lens droplets: at the very start only one or two tiny soft out-of-focus rain droplets sit on the lens glass, subtle and blurred. Then partway through the clip ONE more small droplet lands on the lens — it appears mid-shot as if rain just hit the glass, staying small, soft and blurred. Never more than a few tiny droplets total, never covering the frame. Use @image1 ONLY for the man's exact facial identity. Use @image2 ONLY for his clothing: copy his full outfit exactly as in the reference, every layer and detail, no changes. Use @image3 ONLY for the castle: realistic old stone castle near Paris on an open GRASS FIELD, overcast, light rain. A real physical place, not a backdrop. Use @image4 ONLY for the wyvern's shape/appearance. Scene: an open wet GRASS FIELD in front of the castle. The man stands ON THE GRASS — green wet grass with puddles, no stone, no pavement. A horizontal backstage phone is locked on a tripod several meters away, filming him from the front. Closer to him, a modern smartphone is mounted VERTICALLY on a tall tripod. CRITICAL FRAMING — READ CAREFULLY: the vertical phone is turned so its GLOWING FLAT GLASS SCREEN faces the backstage camera, i.e. the screen faces US / the viewer. We clearly see the bright glowing screen, NOT the camera lenses. The phone's REAR camera lenses point AWAY from us, toward the man, so the rear camera is what films him. DO NOT show the triple-lens rear camera block facing us. DO NOT turn the phone screen toward the man. The side facing the viewer is the SCREEN; the side facing the man is the LENSES. This vertical tripod phone stays clearly visible the whole time. A gear bag sits on the wet grass nearby. Camera: completely static, locked on tripod. No pan, handheld move or zoom. Fixed frame the entire clip, except a tiny natural shake at the very end when the phone is grabbed. [0-4s] The man (face @image1, outfit @image2) poses casually for the vertical tripod phone — steps back into pose, shifts his weight, hands into pockets, rolls his shoulders, slightly cold from the rain, small idle natural movements. He looks toward the tripod phone, never at the backstage camera. He does NOT notice anything yet. [4-7s] Behind and above him, from BEHIND the right turret, the wyvern (@image4) appears for only a moment: a small, plain dark distant silhouette far off in the sky, low-detail and heavily motion-blurred through the rain, with almost no visible wing-flapping — it simply glides fast and stiff across the gray sky high near the top of the frame, far above and behind the man, then is gone out to the LEFT. It stays small and distant the whole time, NOT the focus, NOT clean, NOT smoothly animated, NOT sharp — just a quick blurry shape a phone barely caught. As it clips the right turret, a wing strikes the top: a sudden hard impact knocks off a visible chunk of stone — part of the turret top breaks away and is missing, blocks tumble down the wall, dust and rain mist burst out with a loud crash. The man's reaction is triggered by THAT CRASH behind him, NOT by the wyvern: the instant the stone breaks and the loud noise hits, he flinches and twists around to look back over his shoulder toward the collapsing turret. His head and upper body turn toward the falling stone behind him, hands coming out of pockets, eyebrows up, eyes a bit wider — a moderate, believable "what was that" reaction, brisk and alert but contained, clearly more than idle and well short of panic. By the time he is turned, the wyvern is basically already gone; he is reacting to the damaged turret and the noise, not tracking the creature. This damage MUST REMAIN for the rest of the clip: turret stays broken, dust drifting, debris settling on the grass — the castle must NOT snap back to intact. The wyvern is NOT knocked down and does NOT return. [7-11s] Still half-turned toward the broken turret, he then turns back and moves to the vertical tripod phone at a brisk, purposeful walk-into-jog, with light urgency but not a frantic sprint. He grabs ONLY THE PHONE with one hand — fingers wrap its body and pull it OUT of the tripod clamp in one quick motion. The phone comes free while the tripod stays standing and just wobbles/rattles; he does NOT grab or lift the tripod. The backstage camera gets a tiny shake. End the instant the phone is pulled free — phone in hand, empty tripod wobbling, action unfinished, about to continue into a separate vertical 9:16 segment. Do NOT show the phone's screen change. Audio: diegetic only — light rain, damp outdoor ambience, distant wind, wet footsteps on grass, a loud sudden crash of breaking stone and falling debris, tripod clamp rattle, a brief low wing whoosh as the wyvern passes. Muffled low-quality phone-mic sound, wind rumble, slight auto-gain pumping, peaking like a cheap mic. No music, no dialogue. Negative: phone rear camera facing the viewer, triple-lens camera block facing us, lenses visible on the side facing the backstage camera, phone screen facing the man, dark phone back facing us, no glowing screen visible, CGI/3D-render look, clean sharp detailed creature, smoothly animated creature, over-animated flapping wings, slow-motion creature, large creature, big creature, creature in focus, creature close to the man, low-flying creature, creature as the main subject, epic or cinematic framing, glossy fantasy, cartoon, dragon hero shot, drone shot, pan/zoom/fisheye/distortion, handheld backstage move, cuts or transitions, extra creatures, background people, crowd, walking silhouettes, sunny weather, dry ground, stone floor, pavement, cobblestone, frozen mannequin posing, theatrical or exaggerated acting, calm slow reaction, no reaction, frozen stare, reacting to the dragon instead of the crash, turning only when the dragon flies overhead, hesitation before moving, frantic panic, wild flailing, big jump, ducking, arms thrown up, dramatic recoil, lens fully covered in water, heavy rain droplets on lens, all droplets present from the very start, turret intact after impact, castle resetting to undamaged, grabbing or lifting the tripod. The wyvern must NOT fall, crash or tumble or return — it passes once and is gone.

3. Second Segment — Filming the Dragon

Settings:

Video → Seedance 2.0 → Pro Mode → 720p → Aspect Ratio 9:16 → Duration 10 sec.

Upload the files:

@Image1 — Face Reference
@Image2 — Clothing Reference
@Image3 — Location Reference
@Image4 — Dragon Reference
@Video1 — Motion Reference

PROMPT FOR THE SECOND SEGMENT

Total: 10s / single continuous handheld VERTICAL smartphone shot / 9:16.

STYLE: raw ungraded amateur smartphone footage, real one-hand phone recording. Natural imperfections, mild auto-exposure shifts, motion blur on fast moves, light compression noise. Phone wide lens (~35mm), no fisheye. The image is simply sharp — NO focus hunting, NO cinematic rack focus. Zero CGI look.

MOTION REFERENCE — @Video1: reference @Video1 STRICTLY for camera movement, handheld behavior, the selfie-to-rear camera switch, the pinch-zoom, panning, pacing and framing. Use @Video1 ONLY as a motion reference. Do NOT copy the person, face, clothing, background, lighting, weather or environment from @Video1.

IMPORTANT — ONE PHONE ONLY: the footage IS the recording from the man's phone. There is NO phone visible anywhere in the frame, NO second phone in his hand. His free hand is empty. Never show a phone being held or flipped.

ATMOSPHERE — READ @Image3: @Image3 (the castle) is the master reference for the whole mood — copy its overcast flat cold gray light, washed-out white sky, muted desaturated color, dampness and FAINT barely-visible drizzle. Apply this look to the entire frame, including where the castle is not visible. Keep the rain as weak as in @Image3 — almost imperceptible damp haze, NO downpour, NO rain streaks. Do not shift warmer/cooler, do not boost saturation or contrast.

GEOMETRY: the rear camera faces AWAY from the castle, across an open wet grass field fading into rain haze and a blown-out white horizon. The castle is only behind the man for a split second at the very start; for the rest of the clip it is NOT in frame. Invent the empty field naturally in the same gray look.

REFERENCES:

@Image1 = the man's exact face ONLY.

@Image2 = his clothing ONLY — copy the full outfit exactly.

@Image3 = the already-damaged castle (broken turret, never intact) AND the atmosphere source above.

@Image4 = the wyvern's shape ONLY.

The hooded figure has NO reference: a tall person in a long dark wet rain cloak, hood up, face hidden in shadow. Plain and grounded — NOT glowing, no magic, no staff light.

[0-3s] Handheld selfie/front-camera POV, matching @Video1. Opens immediately on the man's face — his face (@Image1) fills the upper frame, outfit (@Image2) visible, damaged castle behind him in the rain. Sharp from frame one. Brief handheld wobble, then his hand settles. He looks tense, alert, breath visible in the cold.

[3-4s] CAMERA SWITCH, matching @Video1 — like double-tapping the screen in TikTok: the feed INSTANTLY flips from the front camera to the rear camera. This is a digital camera switch, NOT a physical phone flip — the phone is NOT turned around in front of us, nothing rotates, no phone appears in frame. One frame it's his selfie face, the next frame it's the rear view across the open field, AWAY from the castle. Only gray grassland in rain haze, no castle in this direction.

[4-6s] Phone PINCH-ZOOM toward the far field, matching @Video1. CRITICAL: the wide shot looks clean, but the moment he zooms the image quality visibly DROPS like real smartphone digital zoom — softer, grainier, mushy, pixelated, with heavy compression artifacts and shakier framing. The farther it zooms, the noisier it gets. Through this awful zoomed-in mush, far away in the rain, the wyvern (@Image4) is LANDING right beside the hooded figure — coming down onto the wet grass, wings flaring and folding, legs reaching for the ground, kicking up spray as it settles. SCALE IS CRITICAL: this is a COLOSSAL dragon, the same beast that smashed a castle turret with its wing — it absolutely TOWERS over the hooded figure, many times the figure's height. The human-sized figure beside it looks TINY, barely up to the wyvern's leg. There IS motion here, not a static creature. But it stays barely readable: dark, low-detail, you can only just make out its huge shape through the grain. The hooded figure (its master) beside it is even harder to see — a tiny dark smudge in the pixelated haze, dwarfed by the beast.

[6-8s] The huge wyvern has settled on the ground next to the tiny figure. Slow quiet beat: the colossal creature lowers its enormous head all the way down toward its master; the small figure has to REACH UP, raising one hand, and TOUCHES the wyvern's snout, slow and almost tender, like calming a horse far bigger than itself. The wyvern stays still and obedient. Still seen through the same degraded zoom — soft, grainy, barely-there detail, only just distinguishable in the mush. Eerie — this giant thing smashed the turret, now gentle under the hand of a person a fraction of its size.

[8-10s] Far away on the horizon, a single faint DISTANT LIGHTNING FLASH in the clouds (see below); right after it the hooded figure slowly LIFTS its head and looks straight at the camera across the field, as if it knows it is filmed. The man's hand jolts slightly. Hold on the figure's hidden face turned at the lens, then abrupt cut — moment unfinished.

LIGHTNING — MUST BE BARELY NOTICEABLE, FAR AWAY, REAL NOT CGI: NO visible bolt, NO zigzag, NO strike hitting the ground, NOT near the figure. Only a faint distant sheet-lightning glow deep in the clouds on the far horizon — a soft flicker of light inside the overcast, very small and far. It lasts a SINGLE FRAME — an instantaneous blink you'd barely catch out of the corner of your eye, NOT clear, NOT distinct, NOT a 1-2 second flash, no fade, no afterglow, no brightening of the whole scene. A low delayed thunder rumble follows a beat later.

AUDIO: diegetic only — light rain, damp ambience, distant wind, the man's tense breathing, low delayed thunder after the flash. Muffled low-quality phone-mic sound, wind on the mic. No music, no dialogue.

CONSTRAINTS: use @Video1 ONLY for camera movement, pacing, framing and the selfie→rear switch and zoom choreography — do not copy anything visual from it. Front-to-rear camera switch is a double-tap digital switch, never a physical flip. Keep the man's face (@Image1) and outfit (@Image2) consistent, castle (@Image3) always damaged. The wyvern must be COLOSSAL, towering many times over the hooded figure. No second phone, no phone in frame, free hand empty. No lens droplets. No tripod/gimbal smoothness, no fisheye, no cuts mid-clip, no transitions, no slow motion, no horizontal framing. Grounded realistic physics.

NEGATIVE: small wyvern, tiny dragon, wyvern same size as person, human-sized creature, wyvern shorter than figure, undersized dragon, figure taller than wyvern; second phone, phone in hand, visible phone, holding a phone, flipping the phone, hand rotating; lens droplets, water on lens; sharp creature detail, clear wyvern, crisp dragon, readable figure in zoom, high-detail zoom, creature already grounded at start of zoom, static landed creature; jagged/zigzag/glowing/CGI/cartoon lightning, lightning bolt, lightning hitting ground, lightning near figure, clear or distinct lightning, lingering or multi-second flash, slow fade, sustained bright sky, strobing; glowing wizard, magic glow, staff light, energy aura; focus hunting, rack focus, clean/sharp/optical zoom; gimbal smoothness, fisheye; heavy rain, downpour, rain streaks; warm grade, saturated, high contrast; intact castle, repaired turret, castle in the field; creature flying/attacking/close/large in frame; figure walking or running toward camera; slow motion, horizontal framing, cuts mid-clip.

4. Editing

After generation, save both clips and combine them in any video editor.

First, place the first horizontal segment.

At the moment when the character takes the phone off the tripod, immediately cut to the second vertical clip.

It's precisely thanks to this transition that you get the feeling that everything happened continuously and was filmed with a single phone.

If desired, you can add a slight camera shake, compression, and a light phone-style color correction for even more realism.

Как снять POV-видео с драконом с помощью Seedance 2.0

2026-06-27T13:32:03.399Z

Я всё делал в SYNTX AI.

Использовал нейросети:

Seedance 2.0 Pro
ChatGPT Image 2.0

В этом гайде разберём видео из двух отдельных генераций.

Первый отрезок — горизонтальное BTS-видео, где камера на штативе снимает вас возле замка, а огромный дракон разрушает башню.
Второй отрезок — вертикальное видео уже с телефона, где вы снимаете дракона и его загадочного хозяина вдали.

1. Подготовка референсов

Для проекта понадобится 4 изображения и 1 видеореференс.

Подготовка лица

Для начала необходимо подготовить фото лица в виде сетки 3×3 на белом фоне.

Это позволит нейросети максимально хорошо сохранять вашу внешность во время генерации.

Этот файл загрузим как:

@Image1 — Face Reference

Подготовка одежды

Теперь понадобится отдельный референс одежды.

В моём примере используется определённый комплект одежды, однако вы можете использовать абсолютно любую одежду.

Главное, чтобы она была хорошо видна на фотографии.

Этот файл загрузим как:

@Image2 — Clothing Reference

Подготовка локации

Следующий референс — сама локация.

В этом проекте используется старый каменный замок, однако его также можно заменить практически любой другой локацией, если вы хотите изменить сюжет ролика.

Этот файл загрузим как:

@Image3 — Location Reference

Подготовка дракона

Теперь понадобится изображение самого дракона.

Именно этот референс отвечает за внешний вид существа в обоих видео.

Этот файл загружаем как:

@Image4 — Dragon Reference

Подготовка видеореференса

Для второго ролика дополнительно понадобится короткий видеореференс.

Он используется исключительно для движения камеры.

Нейросеть повторит:

движение рук;
переключение между фронтальной и основной камерой;
цифровой зум;
темп съёмки.

При этом внешний вид человека, одежда, освещение и окружение из видео использоваться не будут.

Этот файл загружаем как:

@Video1 — Motion Reference

2. Первый отрезок — возле замка

Настройки:

Видео → Seedance 2.0 → Режим Pro → 720p → Соотношение сторон 16:9 → Длительность 11 сек.

Загружаем файлы по порядку:

@Image1 — Face Reference
@Image2 — Clothing Reference
@Image3 — Location Reference
@Image4 — Dragon Reference

⚠️ ВАЖНО!

Перед запуском генерации обязательно убедитесь, что каждый референс привязан к правильному тегу внутри промпта. Если перепутать хотя бы один файл, результат получится совершенно другим.

ПРОМПТ ДЛЯ ПЕРВОГО ОТРЕЗКА

Total: 11s / Single continuous static smartphone shot / 16:9.
Style: raw ungraded amateur smartphone footage, real behind-the-scenes phone recording. Everyday realism, natural imperfections, mild auto-exposure shifts, autofocus hunting, motion blur on fast movement, light compression noise. 35mm normal lens, no fisheye. Heavy overcast cold gray flat light, light rain, damp hazy air, blown-out white sky, slightly underexposed foreground. ZERO cinematic look, ZERO CGI look — like a clip someone shot on a phone by accident. Lens droplets: at the very start only one or two tiny soft out-of-focus rain droplets sit on the lens glass, subtle and blurred. Then partway through the clip ONE more small droplet lands on the lens — it appears mid-shot as if rain just hit the glass, staying small, soft and blurred. Never more than a few tiny droplets total, never covering the frame. Use @image1 ONLY for the man's exact facial identity. Use @image2 ONLY for his clothing: copy his full outfit exactly as in the reference, every layer and detail, no changes. Use @image3 ONLY for the castle: realistic old stone castle near Paris on an open GRASS FIELD, overcast, light rain. A real physical place, not a backdrop. Use @image4 ONLY for the wyvern's shape/appearance. Scene: an open wet GRASS FIELD in front of the castle. The man stands ON THE GRASS — green wet grass with puddles, no stone, no pavement. A horizontal backstage phone is locked on a tripod several meters away, filming him from the front. Closer to him, a modern smartphone is mounted VERTICALLY on a tall tripod. CRITICAL FRAMING — READ CAREFULLY: the vertical phone is turned so its GLOWING FLAT GLASS SCREEN faces the backstage camera, i.e. the screen faces US / the viewer. We clearly see the bright glowing screen, NOT the camera lenses. The phone's REAR camera lenses point AWAY from us, toward the man, so the rear camera is what films him. DO NOT show the triple-lens rear camera block facing us. DO NOT turn the phone screen toward the man. The side facing the viewer is the SCREEN; the side facing the man is the LENSES. This vertical tripod phone stays clearly visible the whole time. A gear bag sits on the wet grass nearby. Camera: completely static, locked on tripod. No pan, handheld move or zoom. Fixed frame the entire clip, except a tiny natural shake at the very end when the phone is grabbed. [0-4s] The man (face @image1, outfit @image2) poses casually for the vertical tripod phone — steps back into pose, shifts his weight, hands into pockets, rolls his shoulders, slightly cold from the rain, small idle natural movements. He looks toward the tripod phone, never at the backstage camera. He does NOT notice anything yet. [4-7s] Behind and above him, from BEHIND the right turret, the wyvern (@image4) appears for only a moment: a small, plain dark distant silhouette far off in the sky, low-detail and heavily motion-blurred through the rain, with almost no visible wing-flapping — it simply glides fast and stiff across the gray sky high near the top of the frame, far above and behind the man, then is gone out to the LEFT. It stays small and distant the whole time, NOT the focus, NOT clean, NOT smoothly animated, NOT sharp — just a quick blurry shape a phone barely caught. As it clips the right turret, a wing strikes the top: a sudden hard impact knocks off a visible chunk of stone — part of the turret top breaks away and is missing, blocks tumble down the wall, dust and rain mist burst out with a loud crash. The man's reaction is triggered by THAT CRASH behind him, NOT by the wyvern: the instant the stone breaks and the loud noise hits, he flinches and twists around to look back over his shoulder toward the collapsing turret. His head and upper body turn toward the falling stone behind him, hands coming out of pockets, eyebrows up, eyes a bit wider — a moderate, believable "what was that" reaction, brisk and alert but contained, clearly more than idle and well short of panic. By the time he is turned, the wyvern is basically already gone; he is reacting to the damaged turret and the noise, not tracking the creature. This damage MUST REMAIN for the rest of the clip: turret stays broken, dust drifting, debris settling on the grass — the castle must NOT snap back to intact. The wyvern is NOT knocked down and does NOT return. [7-11s] Still half-turned toward the broken turret, he then turns back and moves to the vertical tripod phone at a brisk, purposeful walk-into-jog, with light urgency but not a frantic sprint. He grabs ONLY THE PHONE with one hand — fingers wrap its body and pull it OUT of the tripod clamp in one quick motion. The phone comes free while the tripod stays standing and just wobbles/rattles; he does NOT grab or lift the tripod. The backstage camera gets a tiny shake. End the instant the phone is pulled free — phone in hand, empty tripod wobbling, action unfinished, about to continue into a separate vertical 9:16 segment. Do NOT show the phone's screen change. Audio: diegetic only — light rain, damp outdoor ambience, distant wind, wet footsteps on grass, a loud sudden crash of breaking stone and falling debris, tripod clamp rattle, a brief low wing whoosh as the wyvern passes. Muffled low-quality phone-mic sound, wind rumble, slight auto-gain pumping, peaking like a cheap mic. No music, no dialogue. Negative: phone rear camera facing the viewer, triple-lens camera block facing us, lenses visible on the side facing the backstage camera, phone screen facing the man, dark phone back facing us, no glowing screen visible, CGI/3D-render look, clean sharp detailed creature, smoothly animated creature, over-animated flapping wings, slow-motion creature, large creature, big creature, creature in focus, creature close to the man, low-flying creature, creature as the main subject, epic or cinematic framing, glossy fantasy, cartoon, dragon hero shot, drone shot, pan/zoom/fisheye/distortion, handheld backstage move, cuts or transitions, extra creatures, background people, crowd, walking silhouettes, sunny weather, dry ground, stone floor, pavement, cobblestone, frozen mannequin posing, theatrical or exaggerated acting, calm slow reaction, no reaction, frozen stare, reacting to the dragon instead of the crash, turning only when the dragon flies overhead, hesitation before moving, frantic panic, wild flailing, big jump, ducking, arms thrown up, dramatic recoil, lens fully covered in water, heavy rain droplets on lens, all droplets present from the very start, turret intact after impact, castle resetting to undamaged, grabbing or lifting the tripod. The wyvern must NOT fall, crash or tumble or return — it passes once and is gone.

3. Второй отрезок — съёмка дракона

Настройки:

Видео → Seedance 2.0 → Режим Pro → 720p → Соотношение сторон 9:16 → Длительность 10 сек.

Загружаем файлы:

@Image1 — Face Reference
@Image2 — Clothing Reference
@Image3 — Location Reference
@Image4 — Dragon Reference
@Video1 — Motion Reference

ПРОМПТ ДЛЯ ВТОРОГО ОТРЕЗКА

Total: 10s / single continuous handheld VERTICAL smartphone shot / 9:16.

MOTION REFERENCE — @Video1: reference @Video1 STRICTLY for camera movement, handheld behavior, the selfie-to-rear camera switch, the pinch-zoom, panning, pacing and framing. Use @Video1 ONLY as a motion reference. Do NOT copy the person, face, clothing, background, lighting, weather or environment from @Video1.

ATMOSPHERE — READ @Image3: @Image3 (the castle) is the master reference for the whole mood — copy its overcast flat cold gray light, washed-out white sky, muted desaturated color, dampness and FAINT barely-visible drizzle. Apply this look to the entire frame, including where the castle is not visible. Keep the rain as weak as in @Image3 — almost imperceptible damp haze, NO downpour, NO rain streaks. Do not shift warmer/cooler, do not boost saturation or contrast.

REFERENCES:

@Image1 = the man's exact face ONLY.

@Image2 = his clothing ONLY — copy the full outfit exactly.

@Image3 = the already-damaged castle (broken turret, never intact) AND the atmosphere source above.

@Image4 = the wyvern's shape ONLY.

The hooded figure has NO reference: a tall person in a long dark wet rain cloak, hood up, face hidden in shadow. Plain and grounded — NOT glowing, no magic, no staff light.

[0-3s] Handheld selfie/front-camera POV, matching @Video1. Opens immediately on the man's face — his face (@Image1) fills the upper frame, outfit (@Image2) visible, damaged castle behind him in the rain. Sharp from frame one. Brief handheld wobble, then his hand settles. He looks tense, alert, breath visible in the cold.

[3-4s] CAMERA SWITCH, matching @Video1 — like double-tapping the screen in TikTok: the feed INSTANTLY flips from the front camera to the rear camera. This is a digital camera switch, NOT a physical phone flip — the phone is NOT turned around in front of us, nothing rotates, no phone appears in frame. One frame it's his selfie face, the next frame it's the rear view across the open field, AWAY from the castle. Only gray grassland in rain haze, no castle in this direction.

[4-6s] Phone PINCH-ZOOM toward the far field, matching @Video1. CRITICAL: the wide shot looks clean, but the moment he zooms the image quality visibly DROPS like real smartphone digital zoom — softer, grainier, mushy, pixelated, with heavy compression artifacts and shakier framing. The farther it zooms, the noisier it gets. Through this awful zoomed-in mush, far away in the rain, the wyvern (@Image4) is LANDING right beside the hooded figure — coming down onto the wet grass, wings flaring and folding, legs reaching for the ground, kicking up spray as it settles. SCALE IS CRITICAL: this is a COLOSSAL dragon, the same beast that smashed a castle turret with its wing — it absolutely TOWERS over the hooded figure, many times the figure's height. The human-sized figure beside it looks TINY, barely up to the wyvern's leg. There IS motion here, not a static creature. But it stays barely readable: dark, low-detail, you can only just make out its huge shape through the grain. The hooded figure (its master) beside it is even harder to see — a tiny dark smudge in the pixelated haze, dwarfed by the beast.

CONSTRAINTS: use @Video1 ONLY for camera movement, pacing, framing and the selfie→rear switch and zoom choreography — do not copy anything visual from it. Front-to-rear camera switch is a double-tap digital switch, never a physical flip. Keep the man's face (@Image1) and outfit (@Image2) consistent, castle (@Image3) always damaged. The wyvern must be COLOSSAL, towering many times over the hooded figure. No second phone, no phone in frame, free hand empty. No lens droplets. No tripod/gimbal smoothness, no fisheye, no cuts mid-clip, no transitions, no slow motion, no horizontal framing. Grounded realistic physics.

4. Монтаж

После генерации сохраняем оба ролика и соединяем их в любом видеоредакторе.

Сначала ставим первый горизонтальный отрезок.

В момент, когда персонаж снимает телефон со штатива, сразу делаем склейку на второй вертикальный ролик.

Именно благодаря этому переходу создаётся ощущение, что всё происходило непрерывно и было снято одним телефоном.

При желании можно добавить небольшую тряску камеры, компрессию и лёгкую телефонную цветокоррекцию для ещё большей реалистичности.

How to Create a POV Tsunami Video with Seedance 2.0

2026-06-12T08:43:34.348Z

I made everything in SYNTX.AI

Neural networks used:

Seedance 2.0 Pro
ChatGPT Image 2.0

In this guide, we will create a video from two separate clips:

First clip — a person walks across a dried-up seabed, with a huge tanker nearby and a city in the distance.
Second clip — the person is inside a helicopter, filming a giant tsunami swallowing a coastal city.

1. Preparing the photo for the project

First, you need to prepare a 3x3 face grid on a white background, showing the face from different angles.

This helps the neural network keep your facial identity more stable in the video and prevents it from changing your appearance during camera movement.

Upload this file as:

@Image1 — 3x3 face grid

2. Preparing the tanker reference

For the first clip, you need to prepare a reference image of a large tanker.

The reference is not needed as a finished scene. It is needed so Seedance understands the shape, scale, dirty metal surface, and industrial details of the ship.

It is better to use an image where the tanker looks very large, rusty, wet, and heavy.

Upload this file as:

@Image2 — tanker reference

3. First clip: dried-up seabed

Settings:

Video → Seedance 2.0 → Pro mode → 720p → Aspect ratio 9:16 → Duration 7 seconds

Upload the files in this order:

@Image1 — 3x3 face grid
@Image2 — tanker reference

[Insert image: file upload order for the first clip]

IMPORTANT NOTE: after copying the prompt below and pasting it into the neural network, check that each tag matches the correct uploaded file.

PROMPT FOR THE FIRST CLIP:

Total: 7s / Single continuous handheld smartphone shot / 9:16 aspect ratio.

Style: raw ungraded bystander phone footage, amateur handheld smartphone camera, natural imperfections, realistic phone optics, 35mm normal lens, no stylization. Overcast weather, gray haze, damp air, bleak coastal urban atmosphere, grounded realism. This must look like accidental anxious witness footage, not cinematic AI footage.

Use @Image1 strictly for the exact facial identity of the main man only. @Image1 is a facial identity reference only. Do not copy the 3x3 grid, background, lighting, layout, or any reference-image elements from @Image1.

Use @Image2 strictly for the oil tanker only: dirty industrial hull, rust, wet metal, heavy mass, large scale, deck pipes, railings, cargo structure. Do not copy the background, lighting, framing, or environment from @Image2.

Create a completely new scene:
a vast exposed seabed basin. The entire visible area used to be underwater, but now it is exposed. No open water is visible anywhere in the frame. This must not look like a beach or shoreline.

Environment:
broad wet exposed seabed, muddy uneven ground, shallow ridges, dips, puddles, wet sand, mud, silt, seaweed, shells, ropes, buoys, scattered marine debris, a few stranded fish weakly twitching on the wet ground. The terrain is messy and physically real, not beautiful or stylized.

Far away on the dry horizon, a modern city skyline with high-rise buildings and skyscrapers is visible.

A gigantic oil tanker is stranded very close in the mid-ground. It must feel shockingly near and overwhelmingly large, like a massive wall of steel beside the camera. It is dirty, wet, rusty, heavy, slightly tilted, grounded awkwardly on the exposed seabed. It must not appear as a small ship in the distance. Part of the tanker extends beyond the frame.

[0-2s]
Handheld selfie POV. The main man with the exact facial identity from @Image1 walks carefully across the uneven exposed seabed while holding the phone toward himself. He wears ordinary dark casual outerwear suitable for damp windy weather. He does not look like he is posing. His expression is tense, confused, uneasy, and stunned. He may look slightly past the phone toward the horizon instead of directly into the lens. He does not speak.

Opening hook:
during the selfie shot, the distant city skyline must already be visible behind him. The viewer must immediately understand that he is standing far out on exposed seabed, not near a normal shore.

Camera movement: real handheld walking footage, slight bounce from footsteps, subtle micro-jitters, unstable movement from slippery uneven ground.

[2-4s]
The camera smoothly but shakily turns away from the man’s face in one continuous handheld shot. The man leaves the frame completely.

The camera reveals the gigantic oil tanker very close by. The tanker dominates a large part of the frame like a huge stranded industrial wall. Nearby people and seabed details look tiny compared to it. It feels heavy, dirty, wet, realistic, and disturbing in scale.

Several ordinary people are scattered across the exposed seabed. One films on a phone, another points toward the tanker or horizon, another walks uncertainly across the mud, another stands still in disbelief.

[4-7s]
The camera continues the same handheld movement and reveals more scale around the tanker and the exposed seabed. The distant city skyline remains visible. No open water is visible anywhere.

A stranded dolphin is visible in the mid-ground on the exposed seabed, still alive and weakly moving without water. It must not dominate the frame. It is a secondary emotional detail. A few nearby people are trying to help it in a messy improvised way: one kneels beside it, another splashes or pours water onto it, another tries to guide or drag it toward a shallow puddle. Their actions should feel brief, chaotic, and natural, not staged.

The frame shows only vast wet seabed, scattered people, marine debris, weakly moving fish, the struggling dolphin, and the enormous stranded tanker.

Audio:
diegetic sounds only — strong wind, wet footsteps on mud, distant confused voices, water dripping from mud and metal, subtle metal creaks from the tanker, soft dolphin distress sounds, uneasy silence. No music. No dialogue from the main character.

Constraints:
Use @Image1 only for facial identity.
Use @Image2 only for tanker design, material, and scale.
The man must leave the frame after the camera turns away.
The city skyline must already be visible in the opening selfie shot.
The tanker must be very close, huge, oppressive, and partially out of frame.
No open water visible anywhere.
The scene must feel like the middle of an exposed seabed basin, not a shore.
The dolphin must remain a secondary detail, not the main subject.
Keep it raw, grounded, non-cinematic, and ugly-realistic.

Negative constraints:
no beach shoreline, no visible open water, no ocean waves, no calm sea surface, no bright sunny weather, no tropical postcard look, no beautiful reef, no floating whales, no fantasy elements, no perfect clean beach, no heroic acting, no cinematic shot, no drone shot, no fisheye, no CGI look, no cartoon, no 3D, no camera cuts, no scene transitions, no copied layout from @Image1, no copied background from @Image2.

4. Second clip: tsunami from a helicopter

Settings:

Video → Seedance 2.0 → Pro mode → 720p → Aspect ratio 9:16 → Duration 7 seconds

Upload the file:

@Image1 — 3x3 face grid

PROMPT FOR THE SECOND CLIP:

Total: 7s / Single continuous tracking shot / 9:16 aspect ratio.
Style: Raw ungraded bystander phone footage, amateur handheld smartphone camera, natural imperfections, 35mm normal lens. Heavy overcast sky, cold gray light, marine haze, gloomy disaster mood.

Replace the character with the exact facial identity from @Image1. The person from @Image1 wears dark casual outerwear and aviation headphones.

[0-2s] Handheld selfie POV inside a vibrating helicopter. A man (@Image1) wearing dark outerwear and an aviation headset sits near the open side doorway. He looks at the lens with a calm, serious, stunned expression. Only the empty, dark, turbulent ocean and gloomy stormy horizon are visible behind him through the dark metal framing of the helicopter door. Unstable handheld shake and wind buffeting.

[2-4s] The camera quickly pans toward the open helicopter doorway, leaving the man entirely out of the frame. The view shifts to the disaster outside, transitioning smoothly from the empty ocean. The frame must remain one continuous real aerial view from the helicopter, not a split-screen composition. The dense coastal city and skyscrapers naturally occupy the left side of the frame along the shoreline, while the ocean occupies the right side beyond the coast. A terrifyingly gigantic, dark, turbulent tsunami wave advances from the ocean toward the city to engulf the shoreline.

[4-7s] The camera shakily holds on this continuous aerial view. The massive wave swallows the buildings on the left. Realistic dirty foam and dense mist. The tsunami rolls forward relentlessly. Extreme scale.

[Audio] Diegetic sounds only: loud helicopter rotor noise, cabin vibration, wind howling, and deep roaring water.

Constraints: Man MUST leave the frame completely after the pan. Avoid identity drift, no fisheye lens distortion, no camera cuts, no scene transitions, no 3D, no cartoon, no clean surf wave, maintain realistic physics, realistic heavy water dynamics, maintain one continuous unified frame, no split-screen, no side-by-side composition, no hard vertical seam.

5. Editing

After generating both clips, save them and combine them in editing.

First, place the dried-up seabed clip. Then place the helicopter and tsunami clip right after it.

At the end, you can add slight camera noise, shake, and color correction to make the result feel more like smartphone footage.

[Insert image: editing timeline]

In this guide, I showed how to create a two-part tsunami video in Seedance 2.0.

Как снять POV-видео с цунами с помощью Seedance 2.0

2026-06-12T08:35:06.610Z

Я всё делал в SYNTX.AI

Использовал нейросети:

Seedance 2.0 Pro
ChatGPT Image 2.0

В этом гайде разберём видео из двух отрезков:

Первый отрезок — человек идёт по высохшему морскому дну, рядом огромный танкер и вдалеке город.
Второй отрезок — человек уже в вертолёте и снимает, как гигантское цунами накрывает прибрежный город.

1. Подготовка фото для проекта

Для начала нужно подготовить фото лица в сетке 3х3 на белом фоне в разных ракурсах.

Это важно, чтобы нейросеть лучше держала ваше лицо в видео и не меняла внешность во время движения камеры.

Этот файл загружаем как:

@Image1 — сетка лица 3х3

2. Подготовка референса танкера

Для первого отрезка нужно подготовить референс большого танкера.

Референс нужен не для готовой сцены, а чтобы Seedance понял форму, масштаб, грязную металлическую поверхность и индустриальные детали корабля.

Лучше использовать изображение, где танкер выглядит очень крупным, ржавым, мокрым и тяжёлым.

Этот файл загружаем как:

@Image2 — референс танкера

3. Первый отрезок: высохшее морское дно

Настройки:

Видео → Seedance 2.0 → Режим Pro → 720p → Соотношение сторон 9:16 → Длительность 7 сек.

Загружаем файлы по порядку:

@Image1 — сетка лица 3х3
@Image2 — референс танкера

ВАЖНЕЙШИЙ НЮАНС: когда вы скопируете промпт ниже и вставите его в окно нейросети, проверьте, чтобы каждый тег правильно соответствовал вложению.

ПРОМПТ ДЛЯ ПЕРВОГО ОТРЕЗКА:

Total: 7s / Single continuous handheld smartphone shot / 9:16 aspect ratio.

Far away on the dry horizon, a modern city skyline with high-rise buildings and skyscrapers is visible.

Camera movement: real handheld walking footage, slight bounce from footsteps, subtle micro-jitters, unstable movement from slippery uneven ground.

[2-4s]
The camera smoothly but shakily turns away from the man’s face in one continuous handheld shot. The man leaves the frame completely.

[4-7s]
The camera continues the same handheld movement and reveals more scale around the tanker and the exposed seabed. The distant city skyline remains visible. No open water is visible anywhere.

The frame shows only vast wet seabed, scattered people, marine debris, weakly moving fish, the struggling dolphin, and the enormous stranded tanker.

4. Второй отрезок: цунами с вертолёта

Настройки:

Видео → Seedance 2.0 → Режим Pro → 720p → Соотношение сторон 9:16 → Длительность 7 сек.

Загружаем файл:

@Image1 — сетка лица 3х3

ПРОМПТ ДЛЯ ВТОРОГО ОТРЕЗКА:

Replace the character with the exact facial identity from @Image1. The person from @Image1 wears dark casual outerwear and aviation headphones.

[Audio] Diegetic sounds only: loud helicopter rotor noise, cabin vibration, wind howling, and deep roaring water.

5. Монтаж

После генерации сохраняем оба отрезка и соединяем их в монтаже.

Сначала ставим отрезок с высохшим морским дном, затем сразу отрезок с вертолётом и цунами.

В конце можно добавить лёгкий шум камеры, тряску и цветокор под телефонную съёмку.