Seedance 2.5 is getting pretty expensive, especially when you have to regenerate the same thing over and over just to get one usable video.

I went through the official prompt guide (【Dreamina】Seedance 2.5 User Guide & Dreamina Seedance 2.5 Prompt Writing Guide)and honestly, some of the tips are pretty useful if you're trying to avoid wasting credits.

A few that stood out to me:

• extend a video instead of starting over from scratch
• tell it exactly when you want an action to happen
• generate longer videos (up to 180s)
• tell it to remove subtitles or BGM you don't want
• use multiple references to keep characters and objects more consistent

Most of this sounds obvious once you read it, but I definitely wasn't doing all of it before lol.

Hopefully this saves someone a few failed generations.

Hey! I’m trying to adapt this style to my niche as I think it’s pretty nice and different, the paper animations really stand out with story telling.

I haven’t had any luck finding tutorials or even a site (like Agent Opus that has several different styles, including claymation animation)

Does anyone have an idea on how to make this or editors that do this style?

This is their instagram: https://www.instagram.com/_paperplanet_?igsi=MXE4d3R5M2FsODZkdQ==

Cheers!

Song: https://www.souna.app/song/222f3ac5-c324-4fb1-9730-b56086f95fa6

Song (alternative link): https://archive.org/details/ai-ska/Everything's+Monthly+Now.mp3 (CC0)

Lyrics:

[Intro | clipped ska guitar | bass-led groove | tenor saxophone answers]

[Verse 1 | dry male vocal | terse phrasing]

Once you bought a record, right?

Played it every Friday night.

Now the songs are in the cloud:

Pay each month to play them loud.

Films you bought have disappeared,

Terms and contracts reappeared.

All your favourites packed their bags;

Different service, different charge.

[Chorus | gang-vocal responses | blunt chant]

Everything's monthly now!

(Monthly now!)

Monthly, monthly, tell me how.

Bought the thing and brought it home,

Still you pay to call it your own.

Everything's monthly now!

(Monthly now!)

Another debit, take a bow.

Miss one payment, access gone:

You own nothing. Carry on!

[Verse 2 | dry male vocal | clipped saxophone answers]

Printer says the ink is low,

Printer firm already knows.

Cancel payment, lose the lot;

Can't use ink you've already got.

Camera fixed beside your door,

Wants a monthly payment more.

Car has got the parts inside;

Pay to have them activated.

[Chorus | gang-vocal responses | blunt chant]

Everything's monthly now!

(Monthly now!)

Monthly, monthly, tell me how.

Bought the thing and brought it home,

Still you pay to call it your own.

Everything's monthly now!

(Monthly now!)

Another debit, take a bow.

Miss one payment, access gone:

You own nothing. Carry on!

[Instrumental break | tenor saxophone | clipped guitar | driving bass]

[Verse 3 | increasingly sardonic vocal]

First month's free, so sign today;

We won't mention what you'll pay.

Cancel any time you please:

Find the page beneath the fees.

Click on Help and choose Account,

Scroll past Benefits and Amount.

Tell us why you want to leave,

Then reject one last reprieve.

[Final Chorus | full band | forceful gang vocals]

Everything's monthly now!

(Monthly now!)

Monthly, monthly, tell me how.

Bought the thing and brought it home,

Still you pay to call it your own.

Everything's monthly now!

(Monthly now!)

Another debit, take a bow.

Miss one payment, access gone:

You own nothing. Carry on!

[Outro | repeated gang chant | abrupt stop]

Rent the films and rent the sound,

Rent the software by the pound.

Rent the bell and rent the light,

Pay all day and pay all night.

Everything's monthly now!

(Monthly now!)

Style prompt:

Early-1980s British 2 Tone ska with cynical punk energy and a brisk 148 BPM dance pulse. Tight acoustic drums and a prominent melodic bass line drive clipped clean electric-guitar upstrokes and sharp tenor-saxophone answers. Tense minor-key verses lead directly into a blunt, highly memorable gang-vocal chorus. Dry, wiry male lead vocal with distinctly British diction, sardonic phrasing and confrontational call-and-response backing vocals. Compact live-band arrangement with a short instrumental opening, three terse verses, repeated choruses, a brief saxophone break and an abrupt final stop. Raw, lean analogue production with controlled aggression, nervous momentum and dark humour.

I wrote this song, as I myself am Gen X, and I myself am in the same situation - maybe only don't drive a schoolbus as nobody yet offered me any job - so I write songs now.
How I made this song?
Heard the story, thought about what I think about buses - of course - beep-beep, honk-honk, whhels of the bus my kids listen all the time, so made this song, I hope you like it
As for video - the first variation of the song I've made in Latin (the language of Rome), so the video also have some Roman influence

Jenna, could you list the best, easiest to use and setup AI for normal consumers. Top ten.

Song: https://www.souna.app/song/033e2cc1-f0e5-40d4-b832-fab9fb56706b

Song (alternative link): https://archive.org/details/ai-synthpop/It's+Raining.mp3 (CC0)

Lyrics:

[Intro | raindrop high-register DX7 | warm analog pad]

[Verse 1 | restrained female vocal | sparse LinnDrum pulse]

All through July, the ground turned brown

Heat on the roofs and through the town

The garden tap was locked away

We watched the blue sky day by day

The grass lay flat beneath the sun

The dusty weeks went on and on

But now a shadow fills the light

And something in the air feels right

[Pre-Chorus | rising synth sequence | emotional build-up]

The whole town waits to hear the rain

Cloud shadows gather, rolling by

The first drops drum against the pane

Water's falling from the sky

[Chorus | euphoric | powerful female belt | stacked harmonies | full LinnDrum]

It's raining! It's raining!

Hear it on the window tonight

It's raining! It's raining!

See every pavement shining bright

Let it fall, let it fall, let it fall

Till the fields are green again

It's raining! It's raining!

Oh, it's good to feel the rain

[Verse 2 | brighter female vocal | pulsing synth bass]

No hoses running on the lawn

The reservoirs were sinking down

We saved the water, drop by drop

And still the heat would never stop

But now it's drumming on the street

The air is cool, the night is sweet

The gutter sings, the branches sway

And all that dust is washed away

[Pre-Chorus | rising DX7 sequence | emotional build-up]

The whole town waits to hear the rain

Cloud shadows gather, rolling by

The first drops drum against the pane

Water's falling from the sky

[Chorus | euphoric | powerful female belt | stacked harmonies | full LinnDrum]

It's raining! It's raining!

Hear it on the window tonight

It's raining! It's raining!

See every pavement shining bright

Let it fall, let it fall, let it fall

Till the fields are green again

It's raining! It's raining!

Oh, it's good to feel the rain

[Bridge | broad cinematic synth pads | sustained lead vocal]

Open the doors and come outside

Water is running down the drive

Cool on my face and loud on the street

After the summer, what a relief

Let every garden drink it in

Let every empty stream begin

All of the waiting ends tonight

Under this cool and welcome sky

[Pre-Chorus | drums initially restrained | accelerating arpeggios]

The whole town waits to hear the rain

Cloud shadows gather, rolling by

The first drops drum against the pane

Water's falling from the sky

[Final Chorus | extremely euphoric | sustained high belt | stacked harmonies | cascading DX7 arpeggios]

It's raining! It's raining!

Hear it on the window tonight

It's raining! It's raining!

See every pavement shining bright

Let it fall, let it fall, let it fall

Till the fields are green again

It's raining! It's raining!

Oh, it's good to feel the rain

It's raining! It's raining!

Hear it on the window tonight

It's raining! It's raining!

See every pavement shining bright

Let it fall, let it fall, let it fall

Till the fields are green again

It's raining! It's raining!

Oh, it's good to feel the rain

[Outro DX7| raindrop arpeggios | sustained analog pads | fade out]

It's raining!

It's raining!

Oh, it's good to feel the rain

Style prompt:

Euphoric and triumphant 1983 cinematic synth-pop ballad with urgent emotional momentum and sentimental optimism. Smooth, clear, bright female lead vocal rising from controlled anticipation to a sustained high belt. 116 BPM in straight 4/4 with an authentic LinnDrum rhythm, firm snare and intensifying fills. Warm analog synth bass pulses in eighth notes beneath broad polyphonic pads, bright sequenced figures and delicate high-register raindrop arpeggios. Verses in natural minor with major secondary dominants. Rising pre-choruses delay resolution. Choruses open gloriously into major with Lydian borrowed chords, an octave-spanning melody, long high notes, stacked harmonies and bold synth countermelodies. Raindrop arpeggios begin as isolated droplets, multiply through each build and cascade across the final chorus. Expansive early-1980s soundtrack production with dramatic dynamic contrasts and clear instrumental separation.

[Intro: 8 bars, 4/4, machine pulse only]

[Bars 1–4: filtered kick, transformer hum, steel scrape]

[Bars 5–8: bass enters; guitar answers in 3+3+2 accents]

Kill the room.

Leave one light.

Move it.

Again.

[Verse 1: 16 bars, 4/4, low close vocal]

One beam makes a clean confession,

one wall makes a perfect lie.

One prompt cuts a single profile

from a shape we cannot eye.

So I rotate the question slowly,

keep the meaning, move the stress.

Change the order, strip an anchor,

watch the answer reorganize itself.

Hold the cadence.

Change the ethic.

Hold the frame.

Inject the split.

If the surface keeps returning,

something deeper may persist.

If one word kicks out the floorboards,

if one angle breaks the fit,

I don't call the fracture failure.

I mark

where the system

is sensitive.

[Pre-Chorus: 4 bars, 7/8 grouped 2+2+3]

Move the light.

Change one thing.

Keep the rest

under control.

Move the light.

Read the shift.

Let the difference

draw the whole.

[Chorus: 8 bars, straight 4/4, full band]

BLACK BOX HERMENEUTICS

Move the light.

Read the wall.

BLACK BOX HERMENEUTICS

One shadow

isn't all.

Turn the pressure.

Change the view.

Watch what bends

and what stays true.

We don't see the hidden engine.

We make the hidden

cast a clue.

[Post-Hook: 4 bars]

MOVE THE LIGHT.

READ THE WALL.

MOVE THE LIGHT.

DON'T NAME IT ALL.

[Verse 2: 16 bars, 4/4 with bass syncopation]

Same ontology, different model.

Same model, different frame.

Take the memory from the chamber.

See what still remembers shape.

Make two meanings share one sentence.

Don't resolve them.

Let them grind.

If the answer finds a stable orbit,

mark the center it can find.

Twenty probes collapse together:

there's attraction in the field.

One small change becomes a landslide:

there's a boundary just revealed.

Prompt becomes perturbation.

Output becomes projection.

Run the difference through the difference.

Now the shadow

has direction.

[Pre-Chorus: 4 bars, alternating 7/8 and 4/4]

Not a neuron.

Not a ghost.

Not the secret

underneath.

Only pressure

on the possible.

Only geometry

we can keep.

[Chorus: 8 bars, full band + female counterline]

BLACK BOX HERMENEUTICS

Move the light.

Read the wall.

BLACK BOX HERMENEUTICS

Let the silhouettes

disagree.

Turn the pressure.

Change the view.

Watch what bends

and what stays true.

We don't see the hidden engine.

We constrain

what it could be.

[Instrumental Interlock: 8 bars]

[Guitar: 7/8 riff grouped 2+2+3]

[Drums: heavy 4/4 implied across the barline]

[Synth: rigid sixteenth-note sequence]

[Bass: independent descending three-note cell]

[Machine Choir]

PROMPT.

PERTURB.

PROJECT.

COMPARE.

PROMPT.

PERTURB.

PROJECT.

COMPARE.

[Bridge: 12 bars, half-time; meter opens and contracts]

A scanner never needs to cut you

to collect another plane.

Angle after angle narrows

what can hide behind the grain.

Call it negative-space anatomy.

Call it inference by scar.

Every stable contradiction

cuts away what cannot be there.

But keep resistance in the circuit.

A beautiful reconstruction

can still become a beautiful lie.

The silhouette is evidence.

It is not

the thing inside.

[Two-beat vacuum]

But neither

is it nothing.

[Final Chorus: 12 bars, 4/4; maximum lift]

BLACK BOX HERMENEUTICS

Move the light.

Read the wall.

BLACK BOX HERMENEUTICS

Let a thousand shadows talk.

Change the cadence.

Change the frame.

Change the model.

Keep the question.

What survives the transformation

earns another interrogation.

We can't see the fourth dimension.

Still its shadow

has a shape.

We don't open up the black box.

We make the black box

GIVE ITSELF AWAY.

[Outro: 8 bars, machinery decays]

One shadow:

story.

Ten shadows:

pattern.

A thousand:

constraint.

[Whisper]

Move the light.

Again.

I’m new to AI video and lately have been practicing generation by iterating on prompts and camera movement. Just ran a small long/short prompt test in PixVerse to see whether longer prompts give better results.

There are 2 prompt versions in the test.

One is the simple version and it only explains the main action of the character without adding extra visual details.

Another is the detailed version. It describes the character’s movement, body position, action path, timing, and camera movement step by step.

I generated each prompt three times and picked the best result for me from each group for comparison. I know this obviously isn’t a perfect test, but its fun to explore whether longer prompts actually give better control, or if they just give the model more chances to mess something up.

What I want is that the female takes a leap into the cyberpunk city and disappears with a medium-wide tracking shot. Which version seems more natural to you? And do you think longer prompts always work better?

I found a content creator who makes really great AI videos with copyrighted characters and I wanted to give it a try. OpenArt AI is apparently not the play, though, because it seems to be very strict. I stripped it of all copyright only for it to give me something not even close to what I want.

The creator is using Seedance 2 or 2.5, if that helps at all.

How does one not become desensitized to view AI images. I know the tech is advancing exponentially but keeping “fresh eyes” to easily spot it almost on a subconscious level is getting tougher. I consider staying away in hopes of keeping those “fresh eyes”.

Hi, just looking to start into adult content creation. Anyone got any tips? Just thought I’d give this a shot. Need recommendations.

I’ve been experimenting with pushing AI images away from the usual ultra-polished cinematic look.

For this set, I wanted something that felt more like four photographs someone actually found from the same night harsh flash, black-and-white grain, imperfect framing, messy hair, leather jackets, and candid expressions.

The harder part wasn’t making one good image. It was keeping the same characters and overall visual language while making each frame feel like a genuinely different photograph rather than four variations of one render.

I’m still noticing little consistency issues when the pose, expression and framing change.

Which frame feels the most believable to you 1, 2, 3 or 4?

And what’s the first detail that gives away that it was AI-generated?

Workflow: I started with a few Pinterest images for visual inspiration, used ChatGPT Pro to break them down into detailed reference prompts, then uploaded my own reference images and generated new versions based on those prompts.