Seedance 2.5
Start on your frame and let it run — a full 30-second scene in a single generation.
bytedance/seedance-2.5/image-to-video
Examples
representative generations · starting points to seed the playground
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0:10Cinematic fashion editorial, a narrow vintage elevator lined in deep oxblood mahogany panelling with a brass button plate, a woman in a liquid gold silk slip dress standing perfectly centred, an ocean of cream silk pooled across the floor and spilling out toward camera. Rich low-contrast grade, warm practical light inside the car, soft falloff into the dark wood, fine 35mm grain. Shot 1 — Locked symmetrical wide, matching the frame exactly. She holds still, then slowly raises her right arm and reaches toward the brass button plate on the wall beside her, the silk shifting faintly around her feet as she moves. Camera creeps forward a few inches as her finger nears the panel. Shot 2 — Hard cut to an extreme macro close-up of her hand at the brass plate, shallow focus. Her fingertip presses a worn button; it depresses and lights up warm amber, the glow reflecting in the polished brass and on her skin. A soft mechanical click. Camera drifts a fraction, rack focusing from the lit button to her knuckles. Shot 3 — Hard cut to a high overhead angle looking straight down at her from the elevator ceiling, the gold dress a single stroke of colour in a sea of cream silk. Camera orbits slowly above her as the car rises, the overhead light pulsing as floors pass, warm then dark then warm. She tilts her face up toward the lens. Shot 4 — Hard cut to a low wide from outside as the brass doors slide open and she steps forward out of the car, wading through the cream silk, the whole mass of it dragging with her across the threshold in a slow heavy wave. Camera retreats ahead of her, holding her centred, until she fills the frame and walks past the lens. Audio: deep elevator motor hum, cable creak, a soft button click and amber-lit chime, the dry whisper of silk sliding on wood, doors clunking open, bare feet on polished floor.
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0:10Shot 1 — Static tight on the hands, rain filling them. He tips the water out. Shot 2 — Snap zoom out to a wide, he shakes his head hard, water flying off his hair in a sharp arc across frame, hard flash-frame of sun through the spray. Shot 3 — Hard cut to a slow push-in on his face, tight close-up, rain running down his cheek and beading on the amber lenses. He lowers his sunglasses just enough to look over them straight into the lens, wet lashes, sunlight catching his eyes, one slow blink and the corner of his mouth lifting. Camera keeps creeping in until the frame holds only his eyes and the falling rain behind him.
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0:10Deadpan editorial product film, a fishmonger's marble counter where the display is jewellery instead of seafood — polished silver cuffs, chunky gold hoops and vintage watches laid out on a bed of crushed ice, a sprig of flat parsley as garnish. Cool blue-tiled wall, navy wool sleeves, white cotton gloves. Bright, even, low-contrast market light, crisp specular highlights on chrome and gold, fine grain. Shot 1 — Smooth lateral tracking shot gliding right just above the ice bed, the counter edge streaking through the bottom of frame, sliding past silver cuffs into gold hoops into the rows of watches. Meltwater beads and slides on the metal, tiny ice crystals glinting as they pass through the light. Shot 2 — Hard cut to a macro top-down push-in on a single gold hoop half-buried in ice. Ice crackles and settles around it, a drop of meltwater runs down the curve of the gold. A gloved hand enters frame, index and thumb lifting the hoop out of the ice with the care of a jeweller, water dripping off it in a thin thread. Shot 3 — Hard cut to a low hero angle looking up across the counter as the gloved hands present the hoop toward the lens, holding it steady like a prize catch, the blue tiled wall clean behind it. Camera arcs slowly around the hand, then cranes up and back into a symmetrical overhead of the entire iced counter, every piece glinting at once. Audio: crackle and settle of crushed ice, single water drops, soft cotton-glove friction on metal, faint chain clink, quiet market room tone with a distant refrigeration hum.
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0:10Cinematic fashion film, flat symmetrical composition, chalky rose-pink plaster facade and a pale mint-green boutique window. A white linen dress-form wears a triple-strand pearl necklace; a slim grey Italian greyhound stands on the stone pavement outside. Overcast soft daylight, pastel low-contrast grade, fine 35mm grain, no people on the street. Shot 1 — Locked symmetrical wide, matching the frame exactly. The greyhound steps forward across the pavement toward the glass, slow and deliberate, claws ticking on stone. It stops close to the window, lowers its head slightly, breath faintly fogging the glass. Camera creeps in a few inches behind it. Shot 2 — Hard cut through the glass into the display. Camera arcs in a slow 360-degree orbit around the linen dress-form, passing the pearls in profile, around the back of the torso, and returning to the front. The mint-green light shifts across the linen as we travel; through the window behind it the pink street and the small silhouette of the dog slide past. Shot 3 — Hard cut to an extreme macro on the pearl strands, shallow focus. Each pearl glows with soft window light, tiny surface imperfections visible. The strands sway and click gently, as if the mannequin had just exhaled. Rack focus past the pearls to the greyhound's blurred reflection in the glass behind them. Shot 4 — Hard cut back to the locked symmetrical wide. The greyhound walks back to its original position, turns, and settles into the exact opening pose, staring into the window. Everything goes still. Only its ear flicks. Camera holds. Audio: soft distant city hum, a bicycle bell far away, the click of dog claws on stone, one quiet exhale against glass, the dry rattle of pearls, low breeze.