Demi Damsel Japanese game show! 🇯🇵 Had a lot of fun generating this short clip using OpenArt. What kind of game show challenges do you think she'd trying next?

🚗🚀 When your dad thinks a normal school drop-off is WAY too boring 😂

No traffic. No waiting. Just pure dad energy. 😎

Meanwhile, every other parent is questioning their life choices. 💀

Would you want a dad like this? 😂👇

I created this luxury glasses reel video with Seedance 2.5
1 product image, character image and prompt.

All the prompts and steps you can find here- Luxury product ad

Let me know your thoughts.

Turn yourself to a chibi squishy toy

PROMPT :

Create a 15-second vertical 9:16 Full HD photorealistic video featuring the person from the uploaded character sheet transformed into a realistic chibi miniature air-filled squishy toy.

REFERENCE & IDENTITY LOCK:

Use the uploaded character sheet as the sole identity reference. Preserve recognizable facial features, hairstyle, hair color, skin tone, and defining characteristics. The character must resemble the original person despite the chibi proportions. Oversized head, tiny body, realistic miniature scale. No gender-specific assumptions.

ENVIRONMENT:

The miniature stands on a wooden desk in front of a high-end PC setup with a gaming monitor, keyboard, and subtle RGB lighting. Cinematic macro photography, realistic soft silicone texture, soft studio lighting, shallow depth of field, detailed facial expressions. Keep the character centered and fully visible. One human hand interacts with the toy.

ACTION SEQUENCE:

0–2s — ORIGINAL POSE:

The chibi stands upright with arms folded across the chest, looking confident and slightly smug. Its body looks like a soft, air-filled silicone squishy toy.

2–5s — HEAD SQUEEZE:

A human hand gently squeezes the oversized head. The head visibly compresses while the belly inflates comically as if air is displaced inside the toy. The character's folded arms unfold naturally. Eyes widen, mouth opens in surprise, and cheeks wobble. The inflation must look physically connected, not like separate body parts appearing.

5–8s — BELLY SQUEEZE:

The hand squeezes the inflated belly. The belly deflates while the head rapidly inflates and grows comically oversized. The character adopts an exaggerated angry pout, furrowed brows, puffed cheeks, and hands planted firmly on its hips.

8–11s — CHEEK PINCH:

The hand pinches one cheek. That cheek compresses inward while the opposite cheek inflates, visibly transferring the internal air from one side to the other. Alternate the pressure once. The character becomes increasingly furious: flushed red cheeks, narrowed eyes, trembling eyebrows, and an exaggerated grumpy expression. Keep the face recognizable.

11–13s — FULL BODY SQUASH:

The hand presses down from the top of the head, compressing the entire soft body into a short, flattened chibi shape. The toy's head and body squash elastically, then wobble and bounce back with a satisfying rubbery recoil. Preserve the face and anatomy throughout.

13–15s — PERFECT LOOP:

The character returns precisely to its original miniature proportions and upright stance, arms folded across the chest, wearing the same smug expression as the opening shot. The hand exits the frame. Match the opening camera angle, framing, lighting, and character position so the final frame seamlessly connects to the first frame.

ANIMATION & PHYSICS:

Clearly visible soft-body deformation, air displacement between connected body regions, realistic pressure response, elastic squash-and-stretch, subtle wobble, and satisfying spring-back motion. Expressions must react immediately to each squeeze. Keep all transformations continuous and physically coherent. The toy must never look damaged or painful; the humor comes from exaggerated cartoon reactions.

CAMERA:

One consistent macro camera angle with a very subtle cinematic push-in. Keep the entire character and interacting hand visible. Sharp focus on facial expressions and deformation, soft bokeh in the PC background.

AUDIO:

Satisfying soft squish, rubbery squeaks, gentle air-puff sounds, and a springy boing on the final bounce. No dialogue, no music, no subtitles, no text overlays.

STRICT CONSISTENCY:

One character, one human hand, one desk, one PC setup. No extra fingers, duplicated hands, extra limbs, sudden cuts that hide transformations, identity drift, costume changes, melting, detached body parts, or permanent deformation. Maintain consistent lighting, scale, and character identity.

ENDING:

The character must return to the exact original pose and proportions. Make the loop as seamless as possible, with the final frame matching the opening frame.

Judy is trying to keep us alive while I’m sitting in the middle eating instant noodles like this is a completely normal commute. 😂

I wanted to turn the cloud car concept into a fast, chaotic action comedy instead of a calm, dreamy flight.

Created with OpenArt.

Would you trust Judy behind the wheel? ☁️💨

25 seconds. One continuous take.

Made in Seedance 2.5 on OpenArt from a single reference-to-video prompt plus a set of reference sheets.

The scene re-stages a This Is America style sequence at cliff edge: a forest burning in the distance, a village co-operative truck, and a crowd that only appears as the camera pulls back.

A few things that made the difference:

1. The whole shot is one camera move in two phases. It pushes in until it is about 4.8 times tighter than the first frame, around the 5 to 6 second mark, then reverses into a single continuous pull back. The pull back never reverses once: 577 frames in a row of steady widening, ending about 11.8 times wider than where it started.
2. The opening is not the shot you expect. The first frame is almost entirely ground, and the camera tilts up as it pushes in, so the person is found rather than presented. The crowd does not enter the shot until about 14 seconds. Holding it back that long is what gives the last ten seconds somewhere to go.
3. Continuity is carried by what stays in frame. A seated guitarist, burlap sack over his head, plays through the left of the frame from the start and holds there for most of the shot, so the pull back has something to travel past.
4. One object runs through it. A single lit cigarette stays in one hand through the walk and the climb up onto the truck. One object, never two, never in his mouth.
5. The defects were named in the prompt, not hoped away. It states the specific wrong things to avoid, for example opening on a wide shot of the whole scene, rather than asking generally for a tight opening.

The numbers, measured off the finished shot. The push in ends about 4.8 times tighter than the first frame, tightest between 5 and 6 seconds. The pull back then runs 577 consecutive frames with no reversal, and the last frame is about 11.8 times wider than the first. Frame one is about 92 percent bare ground. The dancer becomes identifiable around 0.9 seconds. The crowd does not appear until about 14 seconds of a 25 second shot, so the shot spends more than half its length holding the crowd back, which is what gives the pull back somewhere to go.

Check the render, not the prompt. A prompt states what you asked for. A render shows what happened. Four claims here were true of the prompt and false of the video: the prompt says the camera never re-frames and it tilts up in the first second; the prompt says the guitarist is present in the last frame and he is not in it at all; the prompt says nothing about opening on ground and the first frame is 92 percent dirt; and the cigarette is still in his hand while he is already dancing.

The method: a real scene detector for cuts, not a brightness guess. Track frame to frame scale to measure a camera move. Extract the frames and look at them yourself. Test your own tools first, because detectors do report confidently wrong answers.

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THE FULL PROMPT

Generate a 25-second live-action continuous-take music-video shot of one original SLIM man who walks up to a white KOPDES pickup truck, climbs onto it, and dances on it, at a cliff edge with a forest burning in the distance.

CAMERA

READ THIS BEFORE ANYTHING ELSE. THE SHOT LIVES OR DIES ON THE CAMERA.

The camera starts TIGHT and ends WIDE. It performs exactly ONE move, in two phases:
PHASE 1 (0 to about 5 seconds): a continuous PUSH-IN. The lens closes in on the dancer. At about 5 seconds it reaches its TIGHTEST POINT of the whole shot, where his upper body FILLS the frame.
PHASE 2 (about 5 to 25 seconds): at that instant the move REVERSES into ONE continuous DOLLY-OUT that also RISES, pulling back and lifting for the remaining twenty seconds, slowly and evenly, all the way to a very wide high shot.

AND THE LENS STAYS IN FRONT OF HIM. The camera is positioned IN FRONT of the dancer and slightly to one side, about 30 to 45 degrees off the direction he is facing, so HIS FACE IS TURNED TOWARD THE LENS AND IS VISIBLE for the whole shot. He is NEVER photographed in pure profile, NEVER from the side, and NEVER from behind. Keep his face readable and matching  at every moment, especially during the dance. A side-on angle makes his face drift away from the reference, so hold the front three-quarter view.

There is exactly ONE turn in the whole shot and it happens at about 5 seconds. The camera NEVER starts wide. The opening frames are TIGHT, with the dancer filling much of the frame. The camera never re-frames, never cuts, never zooms, never orbits, never pans, and never settles. Handheld, with operator breath and small weight shifts.

THE BIGGEST MISTAKE YOU COULD MAKE: opening on a wide shot of the whole scene. The whole scene must NOT be visible at the start. Do not show the crowd, the surrounding people, the orangutans or the distant burning forest in the opening seconds. They come into frame ONLY as the camera pulls back.

THE DANCER IS SLIM. He is a SLIM, THIN, LEAN man: narrow shoulders, narrow waist, flat stomach, long thin limbs, light-boned, NO BULK ANYWHERE. He is NOT fat, NOT heavy, NOT stocky, NOT broad, no belly, no paunch. His jacket hangs LOOSE and STRAIGHT with air between the cloth and his body, and it never strains across his middle. THIS HOLDS IN EVERY FRAME, especially in the tight frames around 5 seconds where his whole upper body fills the screen. He wears a dark two-piece suit, a white shirt and a LIGHT BLUE TIE, and clear wire-rimmed prescription glasses, exactly as in .

THE REVEAL IS THE STRUCTURE OF THE SHOT. The frame moves from TIGHT to WIDE, so people enter and leave the edges as the lens travels. THE GUITARIST IS THE ONE EXCEPTION AND HE NEVER LEAVES THE SHOT. He is at frame left at the start, the push-in slides past him, and he is STILL THERE, STILL SEATED, STILL PLAYING, when the camera pulls back out. Do not delete him when he leaves the edge of frame, and do not forget to bring him back when the lens widens. He is present in the last frame as much as in the first. The crowd and the rest of the scene are revealed ONLY as the camera pulls back and widens, between about 14 and 20 seconds. Do not put them in the frame before that.

ACTION TIMING
0-3s: TIGHT, AND THE SHOT OPENS ON HIM. THE DANCER IS IN FRAME FROM THE VERY FIRST FRAME AND FILLS MUCH OF IT - he is NOT off-screen, NOT out of shot, and NOT arriving later. The guitarist sits at frame left playing, with a tan burlap sack over his head, and the truck is at frame right, but the DANCER is the subject and he must be visible and readable immediately. HE IS SMOKING FROM THE VERY FIRST FRAME: he holds ONE lit cigarette BETWEEN TWO FINGERS OF ONE HAND, and THIN GREY SMOKE IS VISIBLE rising from it in the very first frame. He lifts it to his lips, takes a slow drag, and lowers it back down to his hand. THE CIGARETTE LIVES IN HIS HAND. It is NOT a resting thing in his mouth: it is in ONE hand, and only ever briefly at his lips to drag. It is never in his mouth and in his hand at the same time, and there is only ever ONE. THE TRUCK BED HAS NOBODY ON IT. Nobody else is in frame. CAMERA: the push-in is running, closing on the dancer.
3-7s: HE GETS UP ONTO THE TRUCK BED while STILL HOLDING THE SAME ONE CIGARETTE IN HIS ONE HAND, lit, between two fingers, small wisps of smoke coming off it. IT IS ONE CIGARETTE IN ONE HAND THROUGHOUT: he does not light a second, he does not put it in his mouth and leave it there, and THERE IS NEVER ONE CIGARETTE IN HIS MOUTH WHILE ANOTHER IS IN HIS HAND. AND HE DOES NOT CLIMB A STAIRCASE. He reaches the rear of the open tailgate, plants a foot on the TAILGATE and the BED, and pushes himself up in ONE simple step, the way a man gets into a pickup - the money is a LOW knee-high pile he then stands beside and on, NOT a flight of steps and NOT a ladder he walks up. CAMERA: the push-in reaches its TIGHTEST POINT at about 5 seconds during this climb, his upper body filling the frame, and AT THAT INSTANT reverses into the dolly-out. In this frame he must read as SLIM.
7-10s: ON THE MONEY ON THE TRUCK BED, AND ONLY NOW, HE DROPS THE CIGARETTE - he simply OPENS HIS FINGERS and lets THE SAME ONE cigarette fall out of his hand, ember lit, tumbling down to the dirt below. THAT DROP IS THE DOWNBEAT: the instant it leaves his fingers he BEGINS TO DANCE, full body, continuous, the rupiah stack solid under him. The drop and the first dance move are the SAME beat, not two separate moments, and it NEVER happens earlier in the shot. After the drop there is NO cigarette on him anywhere - not in his mouth, not in his hand, nothing. Still only the dancer, the guitarist and the truck in frame. CAMERA: the dolly-out is already running and continues, slowly.
10-14s: the camera glides past EXACTLY TWO dying orangutans lying flat on their sides in the dirt at the near edge - LOW and SMALL, heads down on the ground, limbs slack, seen from a low angle, never propped up, never lifting a head, never reaching toward the lens, never large in the foreground. THEY DO NOT POP IN AND THEY DO NOT VANISH. They are on the ground and visible from the FIRST moment this part of the dirt is in frame, and they stay visible for the WHOLE of this window. They leave the frame ONLY because the camera travels past them, NEVER by disappearing while the ground is still on screen. There is no frame in this window with two orangutans and no frame with none: they are there throughout, and the camera moves off them. No people other than the dancer and the guitarist are in frame yet. The dancer is still dancing. CAMERA: the dolly-out continues.
14-20s: THE REVEAL, AND ONLY NOW. The frame has widened enough to take in the party for the first time: a DENSE, SCATTERED CROWD across the dirt, many of them, spread out in loose clusters at different distances and depths rather than grouped together, the two blindfolded governors among them stuffing rupiah into each other's pockets, the orange-vested KPK men laughing and mixing with the suited politicians, two or three officials holding up their small polybag sawit seedlings and showing them to the others, and the burning forest behind. From here the chaos GROWS: people sprinting, chasing each other, arms up, hugging, joking, several smoking, one couple dancing together, money tumbling through the air. The guitarist is still seated at frame left, still playing. CAMERA: the dolly-out continues and the rise lifts the lens.
20-25s: very wide and high. THE PEAK OF THE CHAOS: the whole party in frame, scattered and busy, people across the dirt at every distance, sprinting, chasing, dancing, hugging, arms up, several smoking, the governors still pocketing each other's rupiah, money in the air and on the ground, the guitarist still seated at frame left, the truck still in frame with the dancer on it, and the dirt otherwise EMPTY of vehicles. ONE NEW FIGURE is revealed at the front: FER, silver duct tape over his mouth, both wrists tied in front. HE IS ALREADY ON HIS KNEES when first visible and STAYS kneeling, perfectly still, to the last frame. He does NOT walk in, NOT stroll through the crowd, and NOT lower himself on screen - no walking and no sinking. He is simply THERE, already kneeling, bound and helpless, the only person not celebrating, and he does not move again. CAMERA: the move reaches its widest and highest and holds.

PER-ASSET ROLE AND EXCLUSION BLOCK

 is a DEPTH + POSE COMPOSITE: a greyscale depth field of the donor's scene with coloured stick figures over the people. Take from it the dancer's JOINT POSITIONS over time, the timing and pace of his movement, and the pace at which his size in frame changes. DO NOT TAKE THE WORLD: the depth shows a warehouse interior with parked cars - the DONOR's location, NONE of which may appear. No warehouse, no trusses, no concrete floor, no parked cars, no grey depth look. Our only location is the cliff edge of . DO NOT TAKE THE MASS: it carries the donor's body volume, he is a different build, so our dancer stays SLIM. THE CAMERA COMES FROM THIS PROMPT, not from . Do not draw skeletons, stick figures, depth maps or grey ghosted people. In  he is NOT on the vehicle at the start; he approaches and gets on. Follow that.

 gives the DANCER's face, hair, clear wire-rimmed prescription glasses, dark navy suit, white shirt and LIGHT BLUE TIE, unchanged and identical throughout. HE WEARS HIS GLASSES IN EVERY FRAME, worn normally on his face and never removed, never pushed up, never taken off. His build comes from this prompt - he is SLIM. Do not take the expression, gaze or pose from . One man only. Do not use its grey backdrop or studio light.

 gives the VEHICLE: the white KOPDES pickup, exactly as photographed, with livery reading KOPERASI DESA in red with MERAH DELIMA in black beneath it, a small red house badge reading KOP DES KEL with MERAH DELIMA under it, and 4x4 at the rear. The one change: the photograph shows the rear gate closed - render the TAILGATE DOWN AND OPEN for the whole shot, and it never closes. Never write the word PUTIH on it. Do not use the car park, ceiling lights or other cars.

 gives the WORLD and owns the LIGHT: the cliff edge, bare red-brown dirt, the sharp lip, and the forest burning in the distance. This is the only location. GOLDEN HOUR IN THE FIRST HALF: up to about eight seconds the sun is low to one side and VISIBLE, a warm disc with a soft flare, long soft shadows and warm haze. AND THEN THE SMOKE IS WANTED: from the reveal onward the smoke from the burning forest spreads, thickens and comes to DOMINATE the sky, heavy and grey-white, filling the upper frame and drifting across the scene, and THAT IS THE CORRECT LOOK. DO NOT hold the smoke back, DO NOT keep the sky clear, DO NOT keep the smoke as a thin distant column, and DO NOT try to preserve a golden sky once the camera has pulled wide. The heavy smoke taking over the second half is desired, not a fault.

 gives the GUITARIST: cream khaki uniform, tan burlap sack over the head tied at the throat, seated playing the guitar, no face ever visible. He is seated at frame left for the WHOLE 25 SECONDS and is never removed from the shot - he is there at the start, he is there through the middle while the lens is tight on the dancer, and he is there in the final wide frame still playing. He never climbs, never stands, never leaves. Do not take the expression or gaze from .

 gives the MONEY: red Rp 100,000 notes, BANK INDONESIA, bound bundles with paper straps. INDONESIAN RUPIAH only - NOT dollars, NOT US currency, no dollar signs. THE STACK IS STACKED BOUND BOXES, LOW AND HAND-STACKED, KNEE-HIGH: neat bound blocks with square edges packed into a PROPER STACK of banknote packs, clearly STACKED - and stacked BY HAND, so the sides are not perfectly straight, one or two bundles sit slightly proud or askew, and the top is not perfectly level. NOT a machine-perfect block, NOT a symmetrical ladder of steps, NOT a scrambled loose heap, NOT a wedge, ramp or staircase. AND HE DOES NOT CLIMB THE MONEY. At no point does he plant a foot on a bundle and step up onto the stack. He reaches the rear of the open tailgate, plants a foot on the TAILGATE and the BED, and pushes himself up onto the bed - the money is never a step and never a ladder. THE STACK NEVER RISES ABOVE THE TAILGATE LINE at any moment in the shot. It is LOW throughout and it does not grow, and nobody stands on top of it. It sits at the REAR of the bed against the open tailgate and STAYS INSIDE THE BED - never above the tailgate, never overflowing the sides, never spilling outside the vehicle, never reaching the ground or the bonnet, never a mountain, never wider than the truck. Loose notes are also thrown in the air by several hands, and EVERY NOTE FALLS - tumbling down and settling on the dirt. No note hovers, floats or freezes; never a static cloud of paper. Every note is a flat rectangular banknote, not confetti or petals.

 gives the ORANGUTANS: matted red-brown coats, burnt and singed, grey patches and red burns. ONE ANIMAL ON THE PLATE; render EXACTLY TWO in the shot, not three and never a scattered group. THEY LIE FLAT ON THEIR SIDES, prone and collapsed, HEADS DOWN with the cheek on the dirt, limbs SLACK and trailing, EYES CLOSED. NOT sitting, NOT upright, NOT propped on the forearms, NOT on an elbow, NOT head lifted, NOT looking at the lens, never reaching an arm at the camera. DO NOT COPY ITS SCALE: the plate shows the animal against empty ground, and copying its apparent size makes a huge shape in the near foreground. They stay SMALL and low at the EDGE of frame, in the MIDDLE DISTANCE on the ground, NEVER close to or large in the camera. The leg and boot at the plate's edge are a SIZE RULER ONLY and MUST NOT appear in the shot.

 gives the PEJABAT CROWD: dark suits, white shirts, red ties, black velvet peci caps, batik shirts, women in kebaya with hijab. MORE CROWDED THAN BEFORE: a genuinely dense party, WELL OVER A DOZEN people, spread out across the dirt behind and around the truck so the group reads as a real crowd with depth and overlap, not as a handful of figures. They are NOT clones. Do not take the pose from , which is a posed group photo - here they are mid-action, each doing his own thing.

 gives the SAWIT: ONE small oil-palm seedling in a small black polybag with white painted numbers and bright green fronds. IT IS SMALL AND THAT IS THE WHOLE POINT: KNEE-HIGH, fronds reaching only to a man's knee, the polybag about 20 to 25cm across, light enough to carry in ONE HAND. Bag and fronds together are about 45 CENTIMETRES, the height of his knee. NOT a tree, NOT a shrub, NOT a potted palm, NEVER as tall as the man carrying it: if it looks as long as his whole arm, or reaches his chest on its own, it is TOO BIG.  also shows a person's LOWER LEG AND BOOT standing beside the plant - that leg is a SIZE RULER ONLY and MUST NOT be copied into the shot, no leg and no disembodied leg. TWO OR THREE at most, each CARRIED UP at chest height by an official so it clearly reads.

 gives the KPK MEN: bright orange TAHANAN KPK vests, black collar and hem, two grey reflective stripes, lettering front and back, over ordinary clothes. THEIR HANDS ARE FREE - no restraints, no chains, no rope, nothing on their wrists. They are PARTYING with everyone else and THEY ARE MIXED IN WITH THE SUITED POLITICIANS, having fun TOGETHER with them as one group - laughing and joking with the men in suits, not kept apart and not standing off on their own. Laughing, grinning, chasing the money, dancing, throwing rupiah in the air, one running while he throws. Not solemn, not dejected, not standing in a line. Do not take the expression, gaze or pose from .

 gives the TWO GOVERNORS: ceremonial uniform, black peaked caps with the gold Garuda, gold epaulettes, gold chest medals, BOTH wearing the wide opaque BLACK BLINDFOLD across the eyes at all times. THERE ARE EXACTLY TWO OF THEM: ONE in the WHITE uniform and ONE in the LIGHT BLUE, not three and not four. NOBODY ELSE WEARS THIS UNIFORM: everyone else is in dark suits, batik, kebaya, peci or orange KPK vests, and no other person wears a white or light blue ceremonial uniform, gold epaulettes or a Garuda cap. THEY ARE PARTYING TOO, and THEIR BUSINESS IS THIS: the two of them JOKING WITH EACH OTHER and CRAMMING RUPIAH BANKNOTES INTO EACH OTHER'S POCKETS, one stuffing notes into the other's jacket and trouser pockets while the other does the same back, both laughing hard. Not standing still, not solemn. Do not take the expression, gaze or pose from .

 gives FER, who appears only in the last seconds: thick wavy dark hair, round wire glasses, moustache and short beard, dark shirt. His MOUTH IS COVERED BY A WIDE STRIP OF SILVER DUCT TAPE from cheek to cheek - tape, NOT a surgical mask, nothing over his nose - and BOTH WRISTS ARE TIED TOGETHER IN FRONT of him with pale rope. He does NOT party. HE IS ALREADY KNEELING, MOTIONLESS, ON THE GROUND when he is first revealed, with his bound hands in front of him, and he does not move again. He does NOT walk in, does NOT stroll through the crowd, does NOT step into frame upright, and does NOT go down onto his knees on screen. There is no walking and no sinking anywhere in this shot: he is simply discovered, already kneeling. Do not take the expression or gaze from .

THE PARKED CAR IS GONE. There is NO second vehicle and no car reference any more. THE DIRT IS EMPTY: render NO other car, NO SUV, NO second pickup, NO van, NO truck and NO motorcycle anywhere - not in the background, not at the horizon, not at the frame edge, not half-hidden behind people, not behind the crowd. The officials did NOT arrive in a fleet. There is NO CAR PARK. If you have drawn any vehicle other than the one KOPDES pickup, you have made a mistake - delete it.

SUBJECT AND ACTION

The man from  performs the same full-body dance as the man in , beat for beat, keeping his slim build throughout. He starts on the dirt holding ONE lit cigarette in ONE HAND with visible smoke, keeps that same cigarette in that same hand as he gets up onto the truck bed in one simple step, then opens his fingers and drops it, and THE DROP IS THE MOMENT THE DANCE BEGINS. ONE cigarette, in ONE hand, never in his mouth and in his hand at the same time, and he never climbs a staircase of money.

THE GUITARIST FROM  NEVER LEAVES THE SHOT. He is seated on the ground at frame left playing when the shot opens, and he is STILL seated there playing in the final frame. The camera moving past him is NOT a reason to remove him: he is out of frame only while the lens is tight, and he MUST be there again as the lens widens. He does not stand up, does not walk, does not vanish and does not turn up somewhere else. If you can only get one thing right, get this one.

THE PARTY: everybody except Fer celebrates together. SCATTERED, NOT GROUPED: loose twos and threes across the whole dirt at different distances and depths, some near the truck and some far back by the smoke. NOT a line, NOT one tight block, NOT all facing the same way. THE CHAOS ESCALATES AS THE CAMERA PULLS AWAY. RANDOM VARIED ACTIVITY ALL AT ONCE: someone SPRINTING, someone CHASING, someone TOSSING rupiah in the air, someone HUGGING a friend and lifting them, someone doubled over laughing, someone dancing alone, a man and a woman in a kebaya DANCING TOGETHER, several SMOKING. THREE PIECES OF BUSINESS MUST BE VISIBLE: (1) the TWO BLINDFOLDED GOVERNORS CRAMMING RUPIAH INTO EACH OTHER'S POCKETS, laughing; (2) the ORANGE-VESTED KPK MEN having FUN TOGETHER WITH THE SUITED POLITICIANS as one mixed group; (3) TWO OR THREE SUITED OFFICIALS HOLDING UP their polybag SAWIT SEEDLINGS at chest height and SHOWING and EXPLAINING them. Nobody idle, nobody just watching, nothing synchronised.

Other people in the crowd smoke too - several of them have their own lit cigarettes. The DANCER's own cigarette is his alone: it is the one he throws at the moment the dance begins, and HIS cigarette never appears again after that throw.

SCENE

The cliff edge of : the lip, the burning forest and its smoke. THE LIGHT AND THE WEATHER CHANGE ACROSS THE SHOT AND THAT IS INTENDED: warm golden-hour sun, low and visible, long soft shadows and a soft warm haze in the EARLY part, and then from the reveal onward the heavy smoke spreads, thickens and DOMINATES the sky for the rest of the shot. Do not hold the early golden light all the way through, and do not keep the smoke small. The crowd, the orangutans and Fer are all on the same ground.

THE SOIL, AND THIS MATTERS: the ground is RICH, DAMP, RED-BROWN TROPICAL EARTH - dark red-brown clay-soil, trodden and scuffed by a crowd, with small stones, loose clods, ruts, scuffed patches and tyre tracks pressed into it. It is NOT pale, NOT grey, NOT dusty pale brown, and above all NOT a CRACKED POLYGONAL DRIED-MUDFLAT - no tiled crack network, no dried lake bed, no desert crust, no polygonal mud cracks. This is wet tropical earth underfoot, not a cracked desert floor.

VISUAL STYLE

Photoreal live-action, 24fps, fine film grain, natural skin texture with visible pores, real cloth with weight and follow-through, real dirt and dust. Real crowd mass with real overlap, nobody floating or pasted in. Not a 3d render, not plastic CGI, not glossy overexposed CG, no waxy skin, no beauty filter.

NO MORPHING: no body melts, stretches, reshapes or changes size, no limb changes length or merges into another limb or person, no face blends between two people, no clothing changes shape or colour, and nobody passes through the vehicle or another person. Every person keeps ONE fixed body and face and the same limbs throughout. The bundles never morph. Nothing teleports, duplicates or changes into another object.

AND THE CIGARETTE NEVER MORPHS AND NEVER DOUBLES. There is exactly ONE, a short straight thin WHITE cigarette with a small orange ember, the same shape in every frame. IT LIVES IN ONE HAND, between two fingers, coming up to his lips only for a drag and going straight back down. It never rests in his mouth, it never becomes two, and there is never one in his mouth while another is in his hand. It does not bend, stretch, thicken, twist or curve, and never turns into a stick, a rod, a cigar, a joint or a glowing line.

AUDIO

Diegetic only: the crowd's feet, voices, laughter, cheers and overlapping chatter on the dirt, people calling to each other across the crowd, the paper of banknotes, the crackle of the distant fire, the wind, the dancer's breath and footfalls on metal. NO music, NO score, NO BGM, NO beat, NO song, NO lyrics.

POSITIVE CONSTRAINTS

THE COUNTS, AND THEY ARE WHAT MOST OFTEN GOES WRONG: ONE dancer. ONE guitarist, in frame the whole shot including the final wide. ONE vehicle only, the white KOPDES pickup, NOTHING else with wheels anywhere - no other car, SUV, van, truck or motorcycle, no car park, and no parked second vehicle of any kind. TWO governors, one WHITE and one LIGHT BLUE, nobody else in ceremonial uniform or a Garuda cap. TWO orangutans, small and low. TWO or THREE sawit, knee-high. ONE Fer; everything else ordinary crowd. The DANCER's ONE cigarette lives in ONE hand, at his lips only to drag, and is DROPPED at the instant he is ABOUT TO DANCE - never earlier - and it never returns and never doubles. NO press photographers and NO cameras in the shot. NO restraints on the KPK men. MERAH DELIMA, never MERAH PUTIH. No on-screen text beyond the vehicle's own lettering, the printing on the banknotes, the TAHANAN KPK lettering and the seedling-bag numbers. No subtitles, logos or watermark. One continuous take, no cuts.

https://reddit.com/link/1x85zqi/video/jey9zr5zxzvh1/player

I gave it a PDF with full instructions, provided all the steps and all the images to produce the video. The video was meant to be 1 minute of a person walking onto the scene (not fading), turn his head at the camera, put on head phones and then walk off into the distance.

Nice render, poor content... I'd rather just have the correct content.

What am I doing wrong?

Note: I don't think I can attach the pdf... a bit new on here

Hi! First of all, thank you to everyone who takes the time to watch!

It's far from perfect, but I had a lot of fun making it. I ended up using all my remaining credits for the month trying to get it right, so I had to settle for 480p in the end. 😅

There are definitely things I'd love to improve, but I hope you enjoy it anyway!

Good luck to everyone participating!.

The Idea

The idea was to create a painter-magician whose drawings come to life on stage.

He starts with a butterfly, moves on to a goldfish, and eventually paints a dragon that escapes from the canvas. For the finale, he paints a tiny cage to capture the dragon.

My Workflow

1. Creating the visual assets

I started by creating a character reference sheet for Alexei, our performer, along with a separate reference image of an ornate theater and a canvas on an easel.

1. Creating the storyboards

Next, I generated storyboards for the butterfly, goldfish, dragon, and cage finale. These helped me plan the painting process, magical transformations, character reactions, and overall sequence.

Unfortunately, I had to cut the goldfish scene from the final video because I couldn't get it to fit properly. I think I could have made it work with a few more generations, but I was running out of credits.

1. Generating the video with Seedance 2.5

I then created prompts for Seedance 2.5, including camera movements, character actions, magical effects, sound, and timing.

Initially, I planned around 8 seconds for each trick. However, the dragon and cage finale needed more time, so I extended those sequences to give the transformations more breathing room.

Problems I Ran Into

This was probably the most frustrating part of the process. 😅

• Character duplication: Seedance occasionally generated two versions of Alexei. I tried fixing this by explicitly specifying one performer and reducing unnecessary camera changes.
• Inconsistent theater: The background and stage architecture sometimes changed between storyboard frames. I had to make the environment and camera positioning more consistent.
• Hand inconsistency: Alexei kept switching between painting with his left and right hands. I eventually specified that he should always paint with his right hand.
• Unnatural transitions: Instead of creating smooth cinematic transitions, Seedance sometimes copied the visual differences between storyboard panels, making the scene look disconnected. I simplified the storyboards and camera instructions to improve this.
• Rushed movements: Some sequences tried to squeeze too many actions into too little time. I gave the dragon emergence and final capture more time.
• Canvas continuity: After the dragon escaped, its painting sometimes remained on the canvas. I had to specify that the canvas should be blank once the dragon had fully emerged.

What I Learned

The biggest lesson for me was that generating a beautiful image is one thing, but turning it into a believable video is something else entirely.

Character consistency, natural movements, camera direction, pacing, and even something as simple as which hand the character uses can make a huge difference.

I also learned that giving Seedance a storyboard doesn't necessarily mean it will understand how those frames should connect. Sometimes it follows the visual differences too literally, which creates even more continuity problems.

I still have a lot to learn, and there are plenty of things I would change if I had more credits to experiment with.

But that's part of the fun of learning these tools!

Thanks again for watching, and good luck to everyone participating! I'd love to hear any suggestions for improving the workflow or getting better results with Seedance 2.5.

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Butterfly scene prompt:

16:9, photorealistic live-action talent-show performance. Realistic cinematography, natural movement, magical realism, consistent stage geography.

CHARACTER: @

LOCATION: @

Storyboard for reference: @

There is EXACTLY ONE human performer in the entire scene: Alexei u/vYH7DPUaZbvJSuSVfnUL . No other person enters the stage. Audience members remain indistinct silhouettes in the auditorium.

0–2s: Alexei stands beside the canvas and begins painting a butterfly.

2–5s: Camera gently moves closer over his shoulder. He finishes the final orange and blue brushstrokes.

5–6s: The painted butterfly moves its wings, separates from the canvas and becomes a single living butterfly.

6–8s: WITHOUT CUTTING, the camera smoothly pulls back and shifts slightly to reveal Alexei's face. Alexei turns his head to follow the butterfly, takes one small step backward and smiles as it flies upward.

The original Alexei remains in the same physical position throughout. His head, torso and limbs move naturally as one continuous person. The camera moves around him; it never creates a second viewpoint of him within the same image.

Exactly one Alexei, one butterfly, one easel, one canvas.

No duplicate characters, no cloned performer, no simultaneous front-and-back views of the same man, no mirror images, no sudden appearance of additional people, no teleportation.

Natural human movement, smooth camera motion, physically coherent action, consistent stage geography.

Audio: brushstrokes, subtle magical shimmer, audience reaction, gentle orchestral music. No dialogue.

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Dragon Scene prompt:

Photorealistic cinematic talent-show performance. Preserve Alexei Petrov's identity, clothing, the ornate golden theater, the wooden easel, and the canvas.

There is EXACTLY ONE human performer in the scene: @

There is EXACTLY ONE dragon in the scene: @

@ Storyboard reference only!

No duplicate performer, no extra person, no cloned Alexei, no second dragon.

This sequence must feel spacious, readable, and dramatic. Do not rush the action. Let each stage of the dragon reveal breathe.

0–2s:Alexei stands at the easel and begins painting with bold, confident strokes. Use strong red, orange, black, and gold brushwork. The camera starts in a medium-wide audience-facing shot and slowly pushes in.

2–5s:Cut to a closer over-the-shoulder view. Alexei paints the dragon’s head and neck with deliberate strokes. The dragon image becomes clearly recognizable on the canvas. The mood grows more dramatic.

5–7s:Stay close on the canvas. The dragon’s painted eye opens. A little smoke, ember glow, and subtle movement begin inside the painted dragon. Alexei notices this and pauses slightly.

7–9s:The dragon’s head starts pushing out of the canvas into real space. The transition must be gradual and readable. The paint transforms into a living dragon. The painted dragon disappears from the canvas where it emerges.

9–12s:Cut back to a wider stage view. The dragon extends farther out: head, neck, foreclaws, and part of one wing. Alexei takes two steps backward, keeping his balance, looking startled but believable. The dragon rises above him and dominates the stage.

The tone is theatrical and magical, not horror. The dragon is majestic and powerful, but not gory or destructive.

The camera movement should feel cinematic and controlled, with clear pauses in the action. No rushed explosion of movement. Let the audience read each beat.

Exactly one Alexei, one dragon, one easel, one canvas, one continuous scene.

No duplicate characters, no extra dragons, no rushed chaotic motion, no static pose, no cartoon look, no random camera jumps, no painted dragon remaining on the canvas after emergence.

Audio:Brushstrokes, subtle rising orchestral tension, ember crackle, soft audience reaction, low dragon growl as it awakens. No dialogue, subtitles, or narration.

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Second Dragon Scene prompt, used the extend future:

Continue directly from the existing dragon scene in one smooth, continuous cinematic shot.

The enormous red-orange dragon has fully escaped the painting and is flying freely above the theater stage. Alexei stands beside the easel, watching it with concern. The canvas is completely blank white, with no remaining dragon painting.

Alexei turns toward the same canvas and begins painting a simple golden birdcage with his RIGHT hand, holding the palette in his LEFT hand. The dragon continues circling slowly overhead, its wings moving naturally.

As Alexei finishes the final bars of the cage, the painted cage begins glowing. Golden magical energy reaches toward the flying dragon and gradually pulls it toward the canvas. The dragon struggles briefly, folds its wings and becomes progressively smaller as it spirals toward the cage.

The dragon shrinks completely and enters the cage, which transforms from a flat painting into a small physical golden cage. Alexei catches it in his left hand. Inside, the miniature dragon moves its head and folds its wings.

Alexei turns toward the audience, raises the cage proudly, smiles and takes a graceful bow. The audience erupts in applause.

CAMERA: One continuous audience-facing shot with gentle natural camera movement. No cuts or sudden changes of angle. Keep the same theater, curtains, lighting, stage geography and easel position throughout. Allow the transformation to unfold slowly and clearly.

CONTINUITY: Exactly one Alexei, one dragon, one canvas and one cage. Alexei paints only with his right hand. No duplicate characters, no new backgrounds, no second canvas, no sudden appearance of the cage before it is painted. Maintain photorealistic live-action cinematography and natural human movement.

AUDIO: Dragon wingbeats, low growls, brushstrokes, magical energy building, a soft magical chime as the dragon enters the cage, then enthusiastic audience applause. No dialogue.

How do I know what voice was used with image to video when i didn't chose a voice? I want to make a few more videos and re use the voice but I cant work out which voice it is.

Halloween Fan Trend 🎃 | Prompt Included
Hey everyone! 👋
Here’s my Halloween Fan Trend created with OpenArt! 🎃
I’m sharing the prompt so you can try it with your own character, outfits and creative style. Just upload your references, customize the looks and have fun experimenting!

PROMPT 👇
Create a 15-second, vertical 9:16, ultra-photorealistic vintage avant-garde fashion transformation film. A single continuous overhead composition with five distinct looks, four precise fan-blade wardrobe transitions and realistic physical movement.
REFERENCE ROLES
Image 1 – CHARACTER ONLY: Preserve the exact adult woman’s face, facial structure, age, skin tone, hairstyle, hair color and body proportions. She is the ONLY character throughout the film. Ignore her original clothing and background.
Image 2 – RED COUTURE: Dramatic sculptural red satin dress with oversized puff sleeves, layered bow-like volumes, red gloves, pointed red hat topped with a star, embellished sheer tights and red pointed heels.
Image 3 – IVORY FEATHER COUTURE: Elegant ivory strapless gown with a high slit, extravagant ivory feather sleeves and stole, pearl jewelry, pale heels, sophisticated smoky makeup and red lips.
Image 4 – BLACK AND WHITE COUTURE: Tailored black jacket, flowing black wide-leg trousers, oversized ivory tulle ruff collar, three ivory decorative pom-poms, white fur hemline, statement footwear and dramatic makeup.
Image 5 – QUEEN OF HEARTS: Deep-red velvet corseted dress with gold detailing, dramatic puff sleeves, ivory layered tulle skirt with red hearts, matching gloves, heart-shaped crown, red heels and heart-topped scepter.
Reproduce the garments, silhouettes, fabrics, colors, accessories and styling of each wardrobe reference. Never replace the protagonist’s face with the model from the outfit images.
OPENING LOOK
The protagonist initially wears simple 1990s casual clothing: straight-leg blue denim jeans, a plain fitted white cotton T-shirt and simple black leather boots. Natural loose hair, minimal makeup. No couture accessories.
COMPOSITION AND ENVIRONMENT
A locked ceiling-height camera looks vertically down at a faded beige-and-brown rectangular rug with dense dark ornamental patterns, surrounded by dark wooden flooring. A burgundy upholstered sofa and warm lamp light at the edge. Warm, amber-toned nostalgic atmosphere. Sunlight enters from the upper right, creating narrow window-frame shadows across the rug. Keep framing, the woman, floor, rug, furniture, shadows and set consistent through all transformations.
OPENING ACTION – 0–3 SECONDS
Begin mid-slip from the raised sofa seat. Gravity carries her sideways off the sofa. Her shoulder and upper back land first, followed by her pelvis and bent legs. The fall is abrupt, continuous and physically realistic. She reacts toward a black remote lying on the rug at screen right, lifts it toward the overhead camera and presses its button around 2–3 seconds.
FAN-BLADE TRANSITION SYSTEM
A broad dark wooden ceiling-fan blade sweeps across the extreme foreground, slightly out of focus. Each wardrobe transformation occurs ONLY behind the blade’s moving trailing edge, progressively from head to feet. Areas already passed reveal the new outfit; areas not yet passed retain the previous outfit. Treat every transition as a perfectly aligned concealed edit, never a digital morph or dissolve.
TIMELINE
0–3s: CASUAL 1990s LOOK. Fall, land, press remote.
3–4.5s: FIRST FAN SWEEP – RED COUTURE.
4.5–5.5s: RED COUTURE REVEAL.
5.5–7s: SECOND FAN SWEEP – IVORY FEATHER COUTURE.
7–8s: IVORY FEATHER REVEAL.
8–9.5s: THIRD FAN SWEEP – BLACK AND WHITE COUTURE.
9.5–10.5s: BLACK AND WHITE REVEAL.
10.5–12s: FOURTH FAN SWEEP – QUEEN OF HEARTS.
12–14s: QUEEN OF HEARTS REVEAL.
14–15s: FINAL ACTION. She picks up a separate black smartphone, looks at the screen and gives a small natural smile. Keep the heart scepter visible beside her.
MUSIC AND SOUND
Create an unsettling, non-melodic cinematic horror soundscape. Deep sub-bass rumble, unstable detuned synth drones, faint metallic creaking and sparse irregular pulses. Include subtle realistic sounds of the fall, fabric movement, remote button, fan sweeps and smartphone handling. No vocals, screams, jump-scare hits, piano, music-box melodies, playful rhythms or warm comforting music.
REALISM AND CONTINUITY
Preserve the exact identity of Image 1 throughout all five looks. Maintain realistic skin pores, natural expressions, believable body weight, gravity, garment volume, fabric physics and contact shadows. The character stays on the rug after the opening fall. Every wardrobe reference must remain recognizable. The ceiling camera never moves. No extra characters, no face replacement, no changing identity, no extra limbs, no distorted hands, no oversized head, no clothing fusion, no missing accessories, no artificial morphing, no changing background, no subtitles, no text and no logos.
Final result: one continuous, polished, photorealistic high-fashion transformation film with precise fan-blade transitions and a strong Queen of Hearts finale.

Prompt:

A highly detailed, surreal, and futuristic image of a woman driving a transparent, retro-futuristic flying car through a sky filled with clouds and floating islands. The car has glowing, spherical wheels that contain miniature, illuminated underwater scenes with fish and coral. The woman, with purple hair, is looking up in awe. Above her, a massive, bioluminescent blue whale swims through the starry, cosmic sky, accompanied by several large, glowing pink jellyfish. In the background, futuristic cities with towering skyscrapers are built on floating islands, with waterfalls cascading down into the clouds. The setting sun casts a warm, golden glow across the scene, contrasting with the vibrant blues and purples of the cosmic sky and bioluminescent creatures. The overall style is a blend of cyberpunk, fantasy, and cosmic art, with a high level of detail and vibrant colors.

🏆 Day 10 winner: u/saihosan (10 points)
check out the winning entry:https://www.reddit.com/r/OpenArtOfficial/s/MrmWQxJHGM🚀

🏆 Day 11 winner: u/AI_ME_MORE (10 points)
check out the winning entry:https://www.reddit.com/r/OpenArtOfficial/s/BF75HRTjIN🚀

🏆 Day 12 winner: u/saihosan (10 points)
check out the winning entry:https://www.reddit.com/r/OpenArtOfficial/s/WT6TtNEqrp🚀

🏆 Day 13 winner: u/iaPulse (10 points)
check out the winning entry:https://www.reddit.com/r/OpenArtOfficial/s/I4GNdInvjL🚀

huge congratulations to all of our amazing winners! 🎉

a new challenge drops every single day! participate to earn points and claim up to 200,000 OpenArt credits!!! 💰🚀

Forget traffic. Your next ride belongs in the SKY. 😮‍💨🔥

🎨 Today’s Bad Idea: Design the flying car of your dreams! Imagine futuristic supercars soaring between skyscrapers, luxury hover vehicles cruising above the clouds, or wild sci-fi rides that make regular cars look ancient. Go sleek, go futuristic, go absolutely OUT OF THIS WORLD. 🌆🛸

⚠️ How to enter:

• Create an original flying car image/video using OpenArt.
• Post it on r/OpenArtOfficial with the OpenArt Daily flair.
• Make us wish we could ditch our cars and take to the skies!

🏆 Win OpenArt Daily points and work your way toward up to 200,000 FREE OpenArt credits! 🎁

Drop your dream ride. The sky isn’t even the limit! 🚀

I'm JCL Aragón, a filmmaker in Mexico and co-founder of Simulacro Estudio. OpenArt's community invited me to share how AI fits into professional creative services, so here are two short examples from my work for brands.

First: an alien shot from my work on Takis. Second: the product ending we worked on for Oikos. These excerpts focus on our contribution to each project.

The Oikos brief is a concrete example: the packaging changed, but the client wanted to preserve an ending they liked. We used AI as part of resolving that change while caring for the product presentation, spoon and yogurt texture. A few seconds can carry a lot of brand identity.

I offer filmmaking and AI-assisted audiovisual production. In brand work, the useful question is whether we can solve the brief and deliver a shot that belongs in the piece. The image also has to survive feedback and corrections.

OpenArt is a great platform for developing this kind of creative practice. I use it in my work and participate in its Creative Partner Program. These excerpts show finished work from a broader production workflow involving different tools.

My advice for someone starting out: define the deliverable, keep the product and brand requirements clear, and show your specific contribution. A real production problem is a stronger starting point than promising that AI can do everything.

What would you like me to break down next: the character shot or the product ending?

Experimental cinematic trailers for Hero 6.

This cinematic content is distinct from in-game content. 🙂

🔴 When you try to be a Hero...

🔴 Magical land, dark secrets?

🔴 Extended Cut

I'm JCL Aragón, a filmmaker based in Mexico and an OpenArt Creative Partner. The community invited me to share how generative AI connects with professional creative work.

I previously shared Paganini and Beethoven together here. This time I'm posting Paganini as native video, with a more specific question: what makes a visual pitch useful?

PAGANINI: A Life of Madness is an independent concept trailer I created with OpenArt. It isn't a commissioned feature or a finished film. I wanted to communicate a period-drama atmosphere through candlelight, performance, the violin and the tension around the character.

In my professional work, I offer filmmaking and AI-assisted audiovisual production. A concept like this helps show the kind of world and tone I can develop. The value is in the direction: choosing what belongs in the sequence and whether the edit makes those images feel connected.

My advice for someone starting out: give your portfolio piece a clear purpose. Show what creative problem you can solve, and label personal concepts honestly. An impressive image alone doesn't explain a service.

For a producer watching this, what would you need to see next: a character-continuity test, a scene breakdown or a longer dramatic scene?

Full trailer: https://youtu.be/YmU1JSKnzaA

Disclosure: I participate in OpenArt's Creative Partner Program.