seedance-2-5 Checked

One continuous block of text, broken into labeled sections. Skipping a section does not

degrade the output generally — it breaks it in a specific, predictable way.

GLOBAL STYLE
  Genre, color grade, film stock or digital look, aspect ratio, shutter behavior,
  and anything that must not appear. Everything below must match this.

SCENE
  A one-line logline: what happens, where, in what mood.

CHARACTERS
  Face, hair, build, wardrobe. If a reference covers this, just name which
  reference is which character.

LOCATION
  The space and its props, separate from the people in it. A vague location is
  the single most common reason a multi-shot sequence drifts between cuts.

FIRST FRAME AND BLOCKING
  Exact starting positions: who is where, facing which direction, as the clip
  opens. Something fixed before any motion starts.

Shot 1: [shot type] [action in one or two sentences]. Hard cut.
Shot 2: [...]. Hard cut.
Shot 3: [...].
  Pacing is built here. State camera distance and framing per shot: vague
  transitions are the most common cause of a sequence collapsing.

OPTICS / CAMERA
  Focal length, camera height, handheld or dolly or crane, per shot.

PHYSICS
  Fabric, smoke, hair, liquid. Anything that would look wrong moving like a solid.

LIGHTING
  Where the light is motivated from, its direction, how it falls on faces.

AUDIO
  Ambience, specific effects, and what must not be heard. Default:
  "No music, no discernible dialogue", unless the scene needs otherwise.

The shape working prompts share: **one visual rule at the top, one sound rule at the

bottom, everything in between broken into shots.** CHARACTERS can be short when a

reference does that work; keep GLOBAL STYLE, the shot breakdown, and AUDIO regardless.

### Genre, era, and lighting carry more than prose

On vendor web platforms these are UI selectors, and changing genre alone shifts pacing,

contrast, and camera behavior with the scene description held identical. **The API routes

above expose no such selectors**, so on OpenMontage tool calls that intent has to be

written into GLOBAL STYLE and LIGHTING explicitly — genre, decade, grain and color

response, light source and its angle, and the emotional register. Leaving them implicit is

the difference between a shot that reads as noir and one that is merely dark.

---

Locks: continuity across cuts

Constraints do not belong in a trailing negative prompt. They go in **named blocks**,

usually phrased positively, stating what holds.

| Lock | What it solves |

|---|---|

| FIRST FRAME AND SPATIAL BLOCKING | Positions as x/y percentages of frame, plus the reverse-angle note: when the camera crosses, who ends up on which side, so they never swap |

| SCREEN DIRECTION | The axis. "Sea always screen-right, dune line always screen-left, never reverses" |

| LENS LOCK | One focal per segment in degrees of diagonal field of view: 84° wide, 47° normal, 29° portrait, 18° telephoto. Plus "no lens drift mid-segment" |

| SINGLE-LENS LOCK | One focal for the whole piece; framing changes because the operator walks. This is what reads as documentary |

| COUNT LOCK | "Exactly four, never five, no background double, no mirror or reflection showing an extra copy" |

| STILLNESS LOCK | The list of what does not happen: nobody stands, nobody hugs, no hand leaves the blanket |

| POSITIVE LOCKS | Closing block restating in positive terms what holds across cuts |

| IDENTITY / NO-IP LOCK | "A wholly original, invented face." No logos, no readable text, no recognizable melody |

**State monotonicity.** The cheapest continuity trick available: states only advance,

never reset. Wetness only accumulates. The cookie only shrinks — whole, bitten, two

halves, finished — and never regrows. Writing the progression shot by shot stops the model

from cleaning up your character on the next cut.

**One grammar per action.** When an action repeats, define one way to perform it and

forbid the rest, then close the list: exactly five sword actions in the piece, each with

its timestamp. Same for slow motion — allow-list it to named moments and nowhere else.

**Event tracks.** Write ambient elements as a timestamped event list rather than as

texture: each wave with its second and its spray height as a percentage of frame, at

irregular intervals. Works for sea, wind, rain, traffic, and crowds.

**Substitute, don't only forbid.** If you forbid something, supply the concrete

replacement. "No blood" is weak; "the cut edge glows orange, sparks blow out, the body

crumbles to ash" is enforceable.

---

Assets

The piece is won or lost here, before any video generates.

**Character sheet: three plates, face on only one.** Full body front with the face

removed, full body back, and a 3/4 close-up carrying the face in two versions, smiling and

neutral. The face is stripped from the full-body plates because in a wide shot it is small

and blurry and the model copies that blur; if the only face in the set is a sharp

close-up, that is the one it uses. Without the smiling version the model invents teeth.

**One asset per state.** Variations are split into separate assets rather than noted in

the prompt: clean jacket, soaked, and bloodied. Splitting is cheaper than arguing.

**The rule of 10.** Before accepting an asset, generate it ten times across different poses

and lighting. It must stay recognizable all ten.

**Locations.** Do not generate a head-on still. Generate a video of the empty space with

the camera moving slowly, then derive the other sides of the room from that footage.