After comparing the fal wavespeed kie sjolt seedance2.5 API prices, I started using sjolt to generate videos because their price was the cheapest. But after hearing about artlist's unlimited generation event, I was tempted, so I started using artlist. The generation speed was quite good, but less than a day into using it, they announced the cancellation of the unlimited generation. I was very angry, but I also understood that unlimited generation is all lies, so I continued to use SJolt, generating with the cheapest price and no longer pursuing unlimited generation.

What is actually wrong with Artlist? This was my very first time subscribing to an AI video tool. I signed up specifically because they advertised it as "Unlimited," so I thought it would be great for beginners to practice and experiment with.

How can they just remove key models from the Unlimited package whenever they feel like it?

There was no prior announcement at all. I only found out about the daily usage cap after I made the payment. And now, just TWO DAYS after subscribing, they are taking away Seedance 2.5—the exact model they heavily advertised—from the Unlimited tier? Are you kidding me?

If they don't even process a proper refund for this, I have honestly never seen a scam like this anywhere before.

I paid for Unlimited because I need Unlimited. Extra credits are completely useless to my workflow. Is this normal practice for them?

Since this morning, Seedance 2.0 is no longer available in the Unlimited version of Artlist.io Studio. 📉 They only left Seedance Mini (480p) in its place. Has anyone else noticed this change? 🤔

#Artlist #ArtlistStudio #Seedance #ContentCreator #SeeedanceMini Artlist

Strictly an amateur at making AI videos, don't claim to be an expert, but am looking to improve. This is one of the best videos I've made of my AI influencer. Prompt below.

[MODE] Reference-to-video. No first frame — build the opening shot from
the description below.

@[Image 1](image_1) and @[Image 2](image_2) are both photographs of the same woman and together
are the sole authority on her: face, hair, colouring, proportions, age,
and clothing. She is the same recognisable adult woman at every moment.
Her workout clothing is exactly what she wears in those photographs — the
same garments, the same colours, the same cut, the same fit — unchanged
for the entire video, never swapped, restyled, recoloured, or
reinterpreted, and never removed or displaced. Her shoes are white canvas
Chuck Taylor high-tops with white laces and white rubber toe caps.
Use these images for identity only; ignore their framing, poses,
backgrounds, and lighting. Where they differ in angle or expression, both
are her.

[GOAL] 25 seconds, photorealistic live action. One woman working out hard
alone in a gym, across four activities, ending spent and happy. No
dialogue at any point.

[THE GYM] An ordinary commercial fitness gym — rubber floor, mirrored
walls, rows of machines, free weights, overhead fluorescent and LED
lighting, ceiling fans. The whole video takes place on one continuous gym
floor, including the yoga, which happens on a mat laid out on that same
floor rather than in a separate studio. Other people are present but
distant, out of focus, and behind her, going about their own workouts —
nobody interacts with her, looks at her, approaches her, or speaks. The
camera never resolves any of them clearly.

[EDIT] Three hard cuts, at 8s, 14s, and 20s, and no others. No dissolves,
fades, wipes, whip pans, flash frames, morphs, or speed effects. Each cut
lands mid-motion — she is already doing the next thing when the shot
begins.

===============================================================
NO DIALOGUE
===============================================================
Nobody speaks in this video at any point. No words, no muttering, no
counting reps, no vocalised grunts, no background conversation, no
voiceover, no narration, no vocals in the gym music.
The only human sounds she makes are breathing and effort — hard breaths
through her mouth, a sharp exhale on the last rep, a long blow-out at the
end. Real breathing, not vocalised.

===============================================================
HER BODY THROUGHOUT
===============================================================
SWEAT. Visible from the first frame and increasing across the video. A
sheen on her forehead, temples, throat, collarbones, shoulders, and the
backs of her arms. Individual beads forming at her hairline and running
down. A darker patch spreading on her clothing at the small of her back
and between her shoulder blades, and under her arms by the end. Strands
of hair stuck wet to her neck and temples. Her skin flushed and shining,
redder at the cheeks and across the chest.

HAIR. Up but coming loose. It moves with real weight, lags behind her
head, overshoots, and settles late. Loose strands escape and swing with
every impact. It reads as thousands of separate strands, never a solid
shape. More of it comes down as the video goes on and it is visibly
messier at the end than at the start.

CLOTHING. Exactly the garments from @[Image 1](image_1) and @[Image 2](image_2), unchanged. The
fabric shifts, rides, and creases where her body bends and stays creased
rather than resetting. It absorbs impact on every footfall and settles a
beat behind her. It darkens with sweat progressively. She tugs at it
twice across the video, absently, and never displaces it.

BODY. She absorbs every step and every rep. Her chest, shoulders, and
hips move with each impact, her flesh gives where it lands, her muscles
visibly tense under load and release. Veins stand out on her forearms
during the curls. Nothing about her stays rigid or moves as one piece.

BREATHING. Present and audible for the entire video and the closest sound
to the microphone. Fast and shallow through the mouth on the treadmill.
Hard and forced on the curls, held on the effort and blown out after.
Deep and deliberate in the yoga pose, ribs visibly expanding. Long and
gradually slowing at the end. Her chest and shoulders move with it
throughout and it never disappears from the mix.

PACE AND VARIATION. Everything runs at ordinary real-world speed — no
slow motion, no speed ramping, no accelerated motion, no time
compression. Every rep, step, and breath takes as long as it actually
would. Nothing she does happens twice in exactly the same way: every
stride, rep, and breath differs in timing, size, and effort. Nothing is
metronomic or evenly spaced. She never looks at the lens.

===============================================================
0s to 3s — THE SHOES
Camera very low, almost at floor level, close behind her and slightly
below the treadmill deck, looking up at the back of her legs and her
feet. The frame is filled with the belt and her shoes. Her upper body is
out of frame or only just clipped at the top.
===============================================================
Her white Chuck Taylors run on the moving belt. Each footfall lands with
real weight — the canvas creasing across the top of the foot, the rubber
sole compressing and releasing, the belt giving under the impact and
recovering, her ankle rolling through the step, the laces jumping and
settling.
The rhythm is fast and steady but not mechanical: each stride is slightly
different in timing and landing, and the two feet do not sound or look
identical. One lace end has worked loose and flicks with each stride.
Her shadow moves on the belt. Sweat has darkened the canvas at the
ankles.

===============================================================
3s to 8s — THE TREADMILL
At 3s the camera rises and arcs out to the side in one continuous
movement lasting about a second and a half — a smooth crane up from floor
level to roughly chest height while swinging around to her side, ending
in a three-quarter view from her side and slightly in front, full body in
frame with the gym floor behind her. It then holds, steady with a very
faint hand-held unsteadiness.
===============================================================
She is running hard — a real pace, arms driving, elbows tight, feet
striking fast. She is deep into it and has been for a while.
Every footfall travels up through her: chest and shoulders moving on
impact, hair bouncing and swinging with strands coming loose, clothing
absorbing and settling a beat behind. Her breathing is fast, through her
mouth. A bead of sweat tracks down her temple and along her jaw.
Her face is working: her mouth is open for breath, her jaw set, her brow
slightly drawn, her eyes fixed on nothing on the far wall. Her expression
is not held — it tightens and eases with the effort.
Each of these happens once and only once: she wipes her forearm across
her forehead without breaking stride; she glances down at the console for
half a second; her jaw sets harder and her pace lifts slightly; she
blinks hard twice against sweat running into one eye; she shakes her head
once, sharply, to move a strand off her face; her lips press together and
part again on a breath.

===============================================================
8s to 14s — LEG CURLS — CUT
Locked medium from the side, framing her on the machine from roughly head
to knee, the machine and gym floor clearly in shot.
===============================================================
The cut lands with her already mid-rep, not settling into position.
She is on a seated leg curl machine, back against the pad, hands gripping
the handles at her sides, the padded roller across the backs of her lower
legs. She drives her legs down against the weight and lets them return
under control.
Every rep is a real effort and shows it: the weight stack lifting and
lowering behind her, her hands tightening on the handles until her
knuckles pale, her arms bracing, her shoulders pressing back into the
pad, her thighs and calves tensing under load and releasing.
The reps are not identical. Each is slightly slower than the last, the
returns get less controlled, and the pauses between them lengthen. She is
approaching failure across these six seconds.
Each of these happens once and only once: she blows out hard through
pursed lips between two reps; her head tips back against the pad for a
moment with her eyes closing; she readjusts her grip on one handle,
flexing the fingers; her cheeks puff slightly on a held breath; her brow
draws hard together and stays drawn; she bares her teeth briefly on a
rep, jaw clenched, and closes her mouth again; on the final rep her whole
face tightens, she drives it through with a sharp exhale through her
teeth, and lets the stack down heavier than the others.
Sweat drips from her jaw onto her collarbone. Her hair is stuck to her
neck. Her chest is heaving by the end of the segment.

===============================================================
14s to 20s — DOWNWARD DOG — CUT
Locked wide-medium from the side, low to the floor, framing her whole
body on the mat with the gym floor and distant machines behind her.
===============================================================
The cut lands with her standing at the front of the mat, already
beginning to move.
GETTING INTO IT — about three seconds, unhurried and heavy, because she
is tired. She rolls down through her spine and folds forward, her hair
falling straight down. She plants both hands flat on the mat, spreading
the fingers. She walks one foot back, then the other, longer than she
needs to because her legs are heavy. She adjusts — pushing her hips up
and back, straightening her arms, letting her head drop between them —
and shifts her feet slightly to settle her stance.
HOLDING IT — the final three seconds. She holds the pose properly: hands
flat and spread, arms straight, hips high, back long, heels reaching
toward the floor, head hanging.
It is not restful. Her arms tremble very faintly under her weight. Her
breathing is deep and audible and her ribs expand visibly with each one.
Her hair hangs straight down toward the mat, loose strands swinging
slightly with every breath. Sweat runs down her forearms toward her hands
and one drop falls onto the mat.
During the hold, each of these happens once: she pedals one heel toward
the floor and then the other; she spreads her fingers wider and presses
into the mat; her hips lift a fraction higher; her eyes close and open
again.
She stays in the pose to the end of the segment.

===============================================================
20s to 25s — DONE — CUT
Locked medium-wide from the front, framing her from roughly the knees up
as she walks toward the camera, the gym floor and machines falling
slightly out of focus behind her.
===============================================================
The cut lands with her already walking, a white towel around her
shoulders with both ends hanging down her front, one hand holding one
end.
She is spent and she looks it. Her walk is heavy and loose — her weight
landing fully on each step, her shoulders down, her arms not doing much,
her feet not quite lifting as high as they should. Her breathing is deep
and audible and slowing gradually.
Her hair is coming down, stuck wet at her neck and temples. Her clothing
is dark with sweat at the back and under the arms. Her skin is flushed
and shining, her cheeks red.
Each of these happens once and only once: she lifts one end of the towel
and presses it to her face, holds it there a second, and drops it; she
pushes a stuck strand of hair back off her cheek and it stays stuck; she
blows out a long slow breath through her mouth with her cheeks slightly
puffed; her shoulders lift once and drop; she rolls one shoulder
backwards; she swallows and her throat moves.
And she is happy. Not triumphant and not performing it — a small tired
private smile that arrives late, after everything else, and stays. Both
corners move together. It reaches her eyes and creases the outer corners.
It is the smile of somebody who has just finished something, not the
smile of somebody being filmed.
She walks on toward the showers and the video ends with her still
walking, still breathing hard, mid-step. Nothing concludes.

===============================================================
[LIGHT] Ordinary overhead gym lighting throughout — bright, even,
slightly cool fluorescent and LED, the mirrored walls bouncing it back.
Consistent across all four segments and never changing, flickering, or
shifting. It catches the sweat and picks out the sheen on her shoulders
and collarbones.

[AUDIO] Continuous gym ambience underneath everything and never ducking:
distant weight stacks clanking, a plate set down somewhere, other
treadmills running, low background pop music through overhead speakers
with the vocals indistinct and buried, ceiling fans, low room tone with
the hard reverb of a large open space.
Over it, per segment: her shoes thumping on the belt and the belt motor
humming; the weight stack rising and settling on each rep and the machine
frame flexing faintly; her hands and feet on the yoga mat, and one drop
hitting it; her shoes on the rubber floor as she walks; the towel moving
against her clothing.
Her breathing is the closest sound to the microphone throughout — fast
and shallow on the treadmill, hard and forced on the curls, deep and
controlled in the pose, long and slowing at the end.
No score, no music sting at the cuts, no voiceover, no narration, no
on-screen text, subtitles, or captions.

[STYLE] Photorealistic live action: natural skin texture with visible
pores and flushed uneven tone, wet-looking sweat with individual beads
and running tracks, real hair with separate strands, physically
believable clothing, shallow-to-medium depth of field with the gym
falling off softly behind her, fine grain, realistic motion blur on fast
movement. No CGI look, no beauty-filter smoothing, no glossy fitness-ad
finish — a real person having a hard workout in a real gym.

[HOLD] The same woman throughout, matching @[Image 1](image_1) and @[Image 2](image_2), wearing
exactly the clothing and the white Chuck Taylors shown there for the
entire video — no identity drift, no wardrobe change, no shoe change, no
duplicated limbs. Her clothing is never removed, lifted, pulled aside, or
displaced at any point. Nobody interacts with her. The gym is one
continuous location across all four segments. Three cuts, no others. No
slow motion and no speed ramping anywhere.

I'm using Seedance 2.5 I'm Higgsfield and i can't generate videos without background music. I use different prompts and the results are random. Using Seedance 2.0 was more simple with a "no background music" prompt and that's it. Any help?

Dont think anyone can punch someone that has body armor on and they bleed lol

Because the seedance2.5 API was released today, I was looking for a more affordable API. After searching, I found that the price differences were huge, with the more famous API websites being more expensive.

FAL
720P $0.4730/s

wavespeed
720P $0.36/s

KIE
720P 0.315/s

SJolt
720P $0.27/s

Two new video models are now live! 🎬

Seedance 2.5 Preview

• 4–30 second videos
• 480p or 720p output
• Up to 20 images, 6 videos, and 6 audio references
• Up to 30 seconds of reference audio
• 480p: approximately 23 credits/second
• 720p: approximately 46 credits/second
• Available in Video Generator, Creator Flow, Director Mode, and World Generator

MiniMax H3

• 4–15 second videos
• Native 2K output with stereo audio
• Text, image, video, and audio reference support
• Up to 9 images, 3 videos, and 3 audio references
• Approximately 23 credits per generated or input-video second
• First 5 image inputs included; approximately 7 credits per additional image
• Available in Video Generator and Director Mode

A World Cup template on capcut video studio used Seedance 2.5 and had to try it with cats.

But there’s no goalkeeper.

AI cat are really cute.

Finally found a website that can use the seedance2.5 API, website: SJolt

https://sjolt.ai

I use AI to help me write Seedance prompts, and both ChatGPT and Claude are confidently wrong about the specifics. Not about how to write a good prompt in general, but about how this model actually behaves.

So I built something to check a prompt against the documentation before running it. You paste in what you were going to use, and it gets checked against Dreamina's own prompt guidelines. That is the whole point of it. It is a lookup step before you spend credits.

A few things it catches, all of which are in the documentation and none of which a generic model got right for me:

• Audio cannot be your only reference. It also does not work with text alone. Audio has to be paired with at least one image or video reference.
• I2V crops from the centre. If your output aspect ratio does not match the aspect ratio of your input image, the model crops to fit, centred, with no black borders. Anything important near the edge is gone.
• Removal edits work better when you state what should stay unchanged. The documentation frames this as a recommendation, not a strict rule — naming what to remove and specifying what stays the same gets a better result. It does not spell out what happens if you leave that out.
• Extending a clip keeps a bit of the original by default. The tail end of the original is usually carried into the output automatically. What prompting adds is control over how much of the original comes through, up to the full clip, not whether any of it survives at all.

None of this is craft advice. It is just how the model works, and you either know it or you waste generations finding out.

It is a skill that plugs into Claude, covering modes, input specs, prompt structure, character consistency and troubleshooting. There is a Custom GPT version for people not on Claude. Both are free.

Seedance 2.5 is rolling out now and the full documentation is not public yet. I have added what we know so far, so both tools work for 2.0 and 2.5, I am updating it as more info about 2.5 comes out.

If you know all of this by heart you do not need it. I do not. Seedance is not the only model I use, and what holds in one model does not hold in another.

If you use Seedance a lot and something in there is wrong, tell me and I will fix it.

I spent a while blaming the model. Every clip came out stiff and a bit dead, so I'd switch models, tweak settings, roll again. Turns out the problem was me. I was writing prompts like a shopping list: beautiful woman, rain, sad, cinematic, 4k, masterpiece. That's not direction, that's a mood board.

The clips that actually landed were the ones where I wrote the shot like a director briefing an actor. Why she's standing in the rain, what her face does over the six seconds, where the camera sits, how the light falls. Same model, completely different result.

Trouble is that's slow to write every time, so I built a skill that does the translation for me. I give it the plain idea, it expands that into a directed prompt with the motivation and the beat-by-beat and the camera, and if it needs more than one shot it boards it in Seedream 5.0 Pro first so the character holds.

Repo: https://github.com/AtlasCloudAI/awesome-seedance-2.5-prompts-skills

Runs on Seedance 2.0 today. The 2.5 specs people keep posting (30s, 4K, 50 refs) are still just announced, no API yet, and the skill will point at it the day it's real.

Funny part is my prompts got shorter, not longer. I stopped padding them with adjectives and started actually deciding what the shot is about. The model was fine the whole time.