![alessia_orbit's tweet photo. The storyboards I checked first, including the wall-parking shot that took three tries, and the full prompts.
Seedance 2.5 · 2 renders · ~$6.40
Full Seedance 2.5 prompts 👇🏻
Words in [ ] are the references I uploaded: [character], [bed], [vanity], [lane], [wall_front], [roadster], [roadster_side], [roadster_rear], [roadster_roof], [port], [cabin_rear], [crossing], [stairs] (images) and [launch] (a 2-second real launch clip).
Render 1 · at home and in the lane (26s)
Create a 26-second ultra-realistic smartphone vlog filmed by Yumi, a young woman, on the morning her friend Alessia's new car is delivered, at Alessia's small house in a hillside town by the sea in Japan. It is cut together from eight short shots, all filmed on Yumi's phone, always close to Alessia. Yumi is never seen; only her voice is heard.
[character] is the only source for Alessia's face, hair, body and outfit; her face follows [character] exactly in every shot. Age 24, a grown woman in her mid-twenties. Matte natural skin, a bare natural face with no makeup. Long dark brown hair worn down, natural and almost straight with only a slight soft bend at the ends, a soft side part; when she sweeps it back, her face stays clear. The same outfit the whole time: a cozy two-piece pajama set in soft fluffy plush fleece with wide pastel pink and cream horizontal stripes: a loose oversized long-sleeved pullover with a small soft hood with two little rounded bear ears, and matching loose long pajama pants gathered at the ankles; fluffy cream house slippers. Her expressions stay small and natural, like real candid phone footage; her reactions come from what is happening.
THE PLACES, each only in its own time range: 0-9s her bedroom, exactly [bed]; 9-14s the corner with the low wooden stool, the table of hair tools and the window with a sheer curtain, exactly [vanity]; 14-19s the narrow lane outside her front door, seen from her doorstep looking along the lane, exactly [lane]: old grey paving painted all over with big yellow 駐車禁止 markings and hatch stripes, the tall grey granite retaining wall on the right; 19-26s the same lane seen from her doorstep looking straight across it at the retaining wall, exactly [wall_front].
THE CAR (from 14s): a white two-seat electric sports car, its body exactly [roadster], [roadster_side] and [roadster_rear]: low and wedge-shaped, smooth white panels, a black lower edge, a thin white light bar across the nose, six-spoke wheels. Its roof is exactly [roadster_roof]: one long dark tinted glass canopy. It is an ordinary road car with ordinary wheels: the wheels always stay in their normal place under the body. Nobody is in the car. Four air thrusters are hidden under its body, one near each wheel; when they switch on, they blast dense white cold vapor, the cold condensation cloud of high-pressure compressed gas, which shoots out hard, expands fast and rolls outward along the ground, then thins and drifts away. Suction fans under its body can hold it flat against a wall.
CAMERA: the camera IS Yumi's phone, held at her chest height; we never see the phone or any hands. It stays close to Alessia, ordinary phone lens, slightly tilted and a little off-center, a slight hand shake, caught a moment late. Each shot is framed exactly like its place image.
Scene 1 (0-3.5s), BED, framed exactly like [bed]: Alessia sits on the edge of the rumpled bed, feet on the floor, in the middle of a big lazy morning stretch, both arms raised straight up over her head, fingers laced, back arched a little, a small sleepy yawn behind closed lips. At 2.0s her phone on the bedside shelf lights up with a soft notification chime. She lowers her arms and picks it up with both hands.
Scene 2 (3.5-9s), the same view: she holds the phone in both hands, its screen facing her and away from us, and reads it; a small surprised smile grows. At 5.0s she taps the screen once with her right thumb. Then she turns to the camera, delighted but restrained, lips just parted, so happy she can hardly sit still, and says in Japanese, in a young woman's voice with a slight foreign accent: 「ユミ！ロードスター、取りに行けるって！」 Yumi, the young woman behind the camera, in her high bright girl's voice, short and dry: 「駐車場ないのに？」 Alessia waves it off with her right hand, the phone in her left, and says brightly: 「なんとかなる！」
Scene 3 (9-12.5s), MIRROR, framed exactly like [vanity]: Alessia sits on the low wooden stool, looking into the mirror just to the right of the lens, not at the lens, unhurried and relaxed, a small content closed-lip smile. A hairbrush is in her LEFT hand; she slowly brushes her long hair, then sweeps it back over her shoulder with her right hand. Yumi, the young woman behind the camera, in her high bright girl's voice: 「急がなくていいの？」 Alessia, still looking in the mirror, calm: 「車は逃げないよ。」
Scene 4 (12.5-14s), the same view: a sudden gust: outside the window a burst of white vapor sweeps past and the sheer curtain billows into the room. Alessia's right hand stops in the air in the middle of sweeping her hair, the hairbrush still in her LEFT hand, and she turns her head to the window. Alessia, quietly: 「…ん？」
Scene 5 (14-17.5s), LANDING, framed exactly like [lane], the phone right behind Alessia's shoulder: she has just burst out of the sliding front door on the left onto the doorstep, the hairbrush still in her LEFT hand, and stopped, looking up. The empty white car is coming down out of the sky into the lane in front of her, nose toward us, level: it comes down fast, then slows hard over the last few metres as four columns of dense white cold vapor blast straight down from under it, hit the painted paving and burst outward in a wide rolling ring of vapor, dust and dead leaves; the potted plants by her door whip in the blast and her hair is blown back. At 16.5s it touches down on all four wheels in the middle of the lane, its body sinking on its suspension and rising once, and the jets stop. Yumi, the young woman behind the camera, stunned, quietly at a normal speaking volume, in her high bright girl's voice: 「…車のほうから来た。」
Scene 6 (17.5-19s), the same view: the car sits still in the middle of the lane, a last wisp of vapor drifting off it. The phone tilts down a little: all around the car the paving is painted with the big yellow 駐車禁止 markings and hatch stripes, from side to side. A soft electronic chime from the car.
Scene 7 (19-22.5s), WALL, framed exactly like [wall_front]: Yumi stands on the doorstep and films straight across the lane at the retaining wall, the wall filling the background from side to side, a strip of painted paving along the bottom. Alessia stands in the lane in the lower left foreground, between us and the wall, seen from her knees up, the hairbrush in her LEFT hand. The white car, side-on to us in the lane in front of the wall, rises about a metre on four short white jets and rolls a quarter turn, so that its underside swings toward the wall and its dark glass roof turns toward us, and it moves sideways onto the wall until all four tyres press flat against the stones. At 21.5s the jets stop, the suction fans take hold with a low humming suck and a soft thud, and it stays there: parked flat on the wall, its dark glass roof facing us, its length running horizontally across the frame, about one metre above the paving, level and parallel to the ground like a car parked along a kerb, a thin wisp of white vapor at its edges. Yumi, the young woman behind the camera, quietly at a normal speaking volume, in her high bright girl's voice: 「え、え、え…」
Scene 8 (22.5-26s), the same view: the car stays parked flat on the wall, its fans humming low. Alessia, in her fluffy pajamas and slippers, the hairbrush in her LEFT hand, stands below it and slowly tilts her head far over to one side as she looks at the car on the wall, a small deadpan expression. Then she says flatly in Japanese, in the same young woman's voice: 「…なんとかなった。」 Hold on that.
Keep every scene in exact order, each cut once. Real time from start to finish: normal real-time speed, no slow motion, no speed ramp, no freeze frame, no replay, no pause at the start. Raw casual phone vlog: slight hand shake, autofocus catching up, mild grain. LIGHT: natural light only. Indoors, the morning sun through the window on the LEFT is the only light: her left side lit, the right side of the frame falling off into soft natural shadow. Outdoors, the late-morning sun is the only light, with real crisp shadows; the retaining wall sits in natural cool shadow, the car lit by the same daylight as the stones around it. No fill light, no studio or beauty light, no golden hour, no warm filter, nothing specially lit. Muted, slightly desaturated natural tones, low contrast, the quiet natural light of a Christopher Nolan film. Sound: only natural sound: the phone's notification chime, the brush through her hair, the rushing hiss and roar of the compressed-air thrusters, leaves and grit scattering, the car's tyres and suspension, the low hum of its suction fans, birds, the far-off sea. No music, no BGM, no whoosh effects. Only two voices are ever heard, both young women's, both speaking only Japanese; there is no male voice. Each line is said once, only by the person it belongs to. No subtitles, no logos, no text anywhere except the painted 駐車禁止 on the paving.
Render 2 · the car on its way (12s)
Create a 12-second ultra-realistic video in a small hillside town by the sea in Japan on a clear late morning. It is cut together from four short shots, each from a different real camera: a dock worker's phone, the car's own small cabin camera, a passer-by's phone at a railway level crossing, and another passer-by's phone at the foot of a stone stairway. They follow one white two-seat electric sports car that drives and flies itself, with nobody inside, from the port to its new owner's house.
THE CAR: its body is exactly [roadster], [roadster_side] and [roadster_rear]: low and wedge-shaped, smooth white panels, a black lower edge, a thin white light bar across the nose, a thin red light bar across the tail, six-spoke wheels, no rear wing. Its roof is exactly [roadster_roof]: one long dark tinted glass canopy from the windshield to behind the seats. It is an ordinary road car with ordinary wheels: the wheels always stay in their normal place under the body. Nobody is ever in the car: both seats are always empty.
THE THRUSTERS: the car is pushed by high-pressure cold compressed gas. Four nozzles sit in its tail, and four more air thrusters are hidden under its body, one near each wheel. When they switch on, they blast dense white cold vapor, the cold condensation cloud of high-pressure gas: it shoots out hard, expands fast, billows and rolls low along the ground, then thins out and drifts away. The jets under the body are fixed to the car's underside, so when the car rolls over they turn with it.
THE PLACES, each only in its own shot: 0-3s the sunlit concrete quay beside a car-carrier ship, exactly [port]; 3-5.5s the coast road, seen only through the car's windows; 5.5-8s the sloping street down to the railway level crossing and the sea, exactly [crossing]; 8-12s the end of a hillside road at the foot of a stone stairway, tiled rooftops below and the sea beyond, exactly [stairs].
[launch] is real footage of this car launching from a standstill. Use it for scene 1 only, and only for how the car moves and how the vapor moves: the tail squatting as it launches, the hard real acceleration, about one second to cross the whole frame, the white vapor blasting backward and rolling low along the ground. The place, the light and the colors come from [port].
SPEED, for every shot: the car is fast and thrilling but real, like real footage of a real fast car. In every frame the car is a solid car on the road or in the air, moving continuously from one place to the next. Each launch is a real acceleration: the tail squats, the nose lifts a little, the tyres bite, and it gathers speed over a second. Natural motion blur on its wheels and edges, nothing exaggerated. The people filming are always a beat late: their phones swing after the car as it is already leaving the frame, and the blast of air shakes them. Whenever the car passes, the world reacts: vapor, dust, dead leaves, power lines, laundry and plants whip in the blast.
CAMERAS: in scenes 1, 3 and 4 the camera IS a passer-by's phone, handheld at chest height; we never see the phone or any hands. In scene 2 the camera IS the car's own small cabin camera, fixed at the top of the windshield.
Scene 1 (0-3s), PORT: a dock worker's phone on the quay, framed exactly like [port], side-on to the foot of the ship's lowered stern ramp. From the very first frame the empty white car is already rolling down the ramp onto the quay toward frame-LEFT. At 1.0s, side-on to us, it launches toward frame-LEFT exactly like [launch]: its tail squats, a huge burst of dense white cold vapor blasts straight backward out of the four tail nozzles and rolls low along the concrete toward the ramp, filling the right half of the frame, and the car gathers speed so hard that it crosses the frame and is gone out of the left edge about one second later. The phone swings left a beat too late, catching only the vapor and the empty quay; the blast of air shakes it. The white vapor hangs over the quay, drifting.
Scene 2 (3-5.5s), CABIN, framed exactly like [cabin_rear]: the car's cabin camera looks backward at the two empty pale seats. Nobody is in the car. The yoke in the lower right foreground turns by itself, clearly and smoothly, to the left, then back to the right, following the bends of the coast road, nobody touching it. The cabin stays still in the frame. Through the side windows and the small rear window the guardrail, the sea and the rocky shore stream away behind at real speed with motion blur, sunlight and shadow sweeping across the seats as the road bends.
Scene 3 (5.5-8s), CROSSING: a passer-by's phone on the sidewalk partway up the slope, framed exactly like [crossing], looking down the street to the level crossing and the sea. The crossing barriers have just lifted and the cream-and-green tram is pulling away out of the left side of the frame. At 6.0s the white car shoots past right beside the camera at the RIGHT edge of the frame, very close and large, coming from behind the camera, seen from its side and rear, passing the lens in less than half a second; the gust of air jolts the phone and a rising and falling roar of wind and tyres passes. The phone pans after it a beat late: the car races away down the slope, bumps over the rails of the crossing and is small in the distance about a second later.
Scene 4 (8-12s), STAIRS: a passer-by's phone, framed exactly like [stairs]. From the very first frame the white car is already racing in from the lower left of the frame across the small paved patch toward the foot of the stone stairway, where the road runs out. Without slowing, at 8.6s four columns of dense white cold vapor blast straight down from under its body into the paving, a wide ring of vapor, dust and dead leaves bursting outward and swirling, and it lifts off: it climbs steeply over the rooftops toward the upper right, its nose rising, gradually slowing as it climbs; near the top of its climb, from 9.8s to 10.8s, it makes one barrel roll along its length, its four white jets turning with it, and comes back right side up; then it carries on over the rooftops toward the upper right and starts to come down out of sight beyond the hill. The phone tilts up to follow it a beat late. The vapor below keeps swirling and drifting, leaves falling back down.
Keep every scene in exact order, each cut once. Real time from start to finish: normal real-time speed, no slow motion, no speed ramp, no freeze frame, no replay, no pause at the start: the first frame is already moving. Raw real phone footage: slight hand shake, autofocus catching up, mild grain; the cabin camera is fixed and steady. LIGHT: natural light only: the late-morning sun is the only light, real crisp shadows, shaded sides in natural cool shadow, the inside of the car darker than outside. No fill light, no golden hour, no warm filter, nothing specially lit. Muted, slightly desaturated natural tones, low contrast, the quiet natural light of a Christopher Nolan film. Sound: only natural sound: the sharp hiss-bang and rushing roar of the compressed-air thrusters, tyres on concrete and asphalt, the electric hum inside the car, the crossing bell and the tram, wind, dead leaves, gulls at the port. No music, no BGM, no speech. No subtitles, no logos, no readable signs or text.](https://pbs.twimg.com/media/HVPRMP8bAAAmh9d.jpg)
![alessia_orbit's tweet photo. The storyboards I checked first, including the wall-parking shot that took three tries, and the full prompts.
Seedance 2.5 · 2 renders · ~$6.40
Full Seedance 2.5 prompts 👇🏻
Words in [ ] are the references I uploaded: [character], [bed], [vanity], [lane], [wall_front], [roadster], [roadster_side], [roadster_rear], [roadster_roof], [port], [cabin_rear], [crossing], [stairs] (images) and [launch] (a 2-second real launch clip).
Render 1 · at home and in the lane (26s)
Create a 26-second ultra-realistic smartphone vlog filmed by Yumi, a young woman, on the morning her friend Alessia's new car is delivered, at Alessia's small house in a hillside town by the sea in Japan. It is cut together from eight short shots, all filmed on Yumi's phone, always close to Alessia. Yumi is never seen; only her voice is heard.
[character] is the only source for Alessia's face, hair, body and outfit; her face follows [character] exactly in every shot. Age 24, a grown woman in her mid-twenties. Matte natural skin, a bare natural face with no makeup. Long dark brown hair worn down, natural and almost straight with only a slight soft bend at the ends, a soft side part; when she sweeps it back, her face stays clear. The same outfit the whole time: a cozy two-piece pajama set in soft fluffy plush fleece with wide pastel pink and cream horizontal stripes: a loose oversized long-sleeved pullover with a small soft hood with two little rounded bear ears, and matching loose long pajama pants gathered at the ankles; fluffy cream house slippers. Her expressions stay small and natural, like real candid phone footage; her reactions come from what is happening.
THE PLACES, each only in its own time range: 0-9s her bedroom, exactly [bed]; 9-14s the corner with the low wooden stool, the table of hair tools and the window with a sheer curtain, exactly [vanity]; 14-19s the narrow lane outside her front door, seen from her doorstep looking along the lane, exactly [lane]: old grey paving painted all over with big yellow 駐車禁止 markings and hatch stripes, the tall grey granite retaining wall on the right; 19-26s the same lane seen from her doorstep looking straight across it at the retaining wall, exactly [wall_front].
THE CAR (from 14s): a white two-seat electric sports car, its body exactly [roadster], [roadster_side] and [roadster_rear]: low and wedge-shaped, smooth white panels, a black lower edge, a thin white light bar across the nose, six-spoke wheels. Its roof is exactly [roadster_roof]: one long dark tinted glass canopy. It is an ordinary road car with ordinary wheels: the wheels always stay in their normal place under the body. Nobody is in the car. Four air thrusters are hidden under its body, one near each wheel; when they switch on, they blast dense white cold vapor, the cold condensation cloud of high-pressure compressed gas, which shoots out hard, expands fast and rolls outward along the ground, then thins and drifts away. Suction fans under its body can hold it flat against a wall.
CAMERA: the camera IS Yumi's phone, held at her chest height; we never see the phone or any hands. It stays close to Alessia, ordinary phone lens, slightly tilted and a little off-center, a slight hand shake, caught a moment late. Each shot is framed exactly like its place image.
Scene 1 (0-3.5s), BED, framed exactly like [bed]: Alessia sits on the edge of the rumpled bed, feet on the floor, in the middle of a big lazy morning stretch, both arms raised straight up over her head, fingers laced, back arched a little, a small sleepy yawn behind closed lips. At 2.0s her phone on the bedside shelf lights up with a soft notification chime. She lowers her arms and picks it up with both hands.
Scene 2 (3.5-9s), the same view: she holds the phone in both hands, its screen facing her and away from us, and reads it; a small surprised smile grows. At 5.0s she taps the screen once with her right thumb. Then she turns to the camera, delighted but restrained, lips just parted, so happy she can hardly sit still, and says in Japanese, in a young woman's voice with a slight foreign accent: 「ユミ！ロードスター、取りに行けるって！」 Yumi, the young woman behind the camera, in her high bright girl's voice, short and dry: 「駐車場ないのに？」 Alessia waves it off with her right hand, the phone in her left, and says brightly: 「なんとかなる！」
Scene 3 (9-12.5s), MIRROR, framed exactly like [vanity]: Alessia sits on the low wooden stool, looking into the mirror just to the right of the lens, not at the lens, unhurried and relaxed, a small content closed-lip smile. A hairbrush is in her LEFT hand; she slowly brushes her long hair, then sweeps it back over her shoulder with her right hand. Yumi, the young woman behind the camera, in her high bright girl's voice: 「急がなくていいの？」 Alessia, still looking in the mirror, calm: 「車は逃げないよ。」
Scene 4 (12.5-14s), the same view: a sudden gust: outside the window a burst of white vapor sweeps past and the sheer curtain billows into the room. Alessia's right hand stops in the air in the middle of sweeping her hair, the hairbrush still in her LEFT hand, and she turns her head to the window. Alessia, quietly: 「…ん？」
Scene 5 (14-17.5s), LANDING, framed exactly like [lane], the phone right behind Alessia's shoulder: she has just burst out of the sliding front door on the left onto the doorstep, the hairbrush still in her LEFT hand, and stopped, looking up. The empty white car is coming down out of the sky into the lane in front of her, nose toward us, level: it comes down fast, then slows hard over the last few metres as four columns of dense white cold vapor blast straight down from under it, hit the painted paving and burst outward in a wide rolling ring of vapor, dust and dead leaves; the potted plants by her door whip in the blast and her hair is blown back. At 16.5s it touches down on all four wheels in the middle of the lane, its body sinking on its suspension and rising once, and the jets stop. Yumi, the young woman behind the camera, stunned, quietly at a normal speaking volume, in her high bright girl's voice: 「…車のほうから来た。」
Scene 6 (17.5-19s), the same view: the car sits still in the middle of the lane, a last wisp of vapor drifting off it. The phone tilts down a little: all around the car the paving is painted with the big yellow 駐車禁止 markings and hatch stripes, from side to side. A soft electronic chime from the car.
Scene 7 (19-22.5s), WALL, framed exactly like [wall_front]: Yumi stands on the doorstep and films straight across the lane at the retaining wall, the wall filling the background from side to side, a strip of painted paving along the bottom. Alessia stands in the lane in the lower left foreground, between us and the wall, seen from her knees up, the hairbrush in her LEFT hand. The white car, side-on to us in the lane in front of the wall, rises about a metre on four short white jets and rolls a quarter turn, so that its underside swings toward the wall and its dark glass roof turns toward us, and it moves sideways onto the wall until all four tyres press flat against the stones. At 21.5s the jets stop, the suction fans take hold with a low humming suck and a soft thud, and it stays there: parked flat on the wall, its dark glass roof facing us, its length running horizontally across the frame, about one metre above the paving, level and parallel to the ground like a car parked along a kerb, a thin wisp of white vapor at its edges. Yumi, the young woman behind the camera, quietly at a normal speaking volume, in her high bright girl's voice: 「え、え、え…」
Scene 8 (22.5-26s), the same view: the car stays parked flat on the wall, its fans humming low. Alessia, in her fluffy pajamas and slippers, the hairbrush in her LEFT hand, stands below it and slowly tilts her head far over to one side as she looks at the car on the wall, a small deadpan expression. Then she says flatly in Japanese, in the same young woman's voice: 「…なんとかなった。」 Hold on that.
Keep every scene in exact order, each cut once. Real time from start to finish: normal real-time speed, no slow motion, no speed ramp, no freeze frame, no replay, no pause at the start. Raw casual phone vlog: slight hand shake, autofocus catching up, mild grain. LIGHT: natural light only. Indoors, the morning sun through the window on the LEFT is the only light: her left side lit, the right side of the frame falling off into soft natural shadow. Outdoors, the late-morning sun is the only light, with real crisp shadows; the retaining wall sits in natural cool shadow, the car lit by the same daylight as the stones around it. No fill light, no studio or beauty light, no golden hour, no warm filter, nothing specially lit. Muted, slightly desaturated natural tones, low contrast, the quiet natural light of a Christopher Nolan film. Sound: only natural sound: the phone's notification chime, the brush through her hair, the rushing hiss and roar of the compressed-air thrusters, leaves and grit scattering, the car's tyres and suspension, the low hum of its suction fans, birds, the far-off sea. No music, no BGM, no whoosh effects. Only two voices are ever heard, both young women's, both speaking only Japanese; there is no male voice. Each line is said once, only by the person it belongs to. No subtitles, no logos, no text anywhere except the painted 駐車禁止 on the paving.
Render 2 · the car on its way (12s)
Create a 12-second ultra-realistic video in a small hillside town by the sea in Japan on a clear late morning. It is cut together from four short shots, each from a different real camera: a dock worker's phone, the car's own small cabin camera, a passer-by's phone at a railway level crossing, and another passer-by's phone at the foot of a stone stairway. They follow one white two-seat electric sports car that drives and flies itself, with nobody inside, from the port to its new owner's house.
THE CAR: its body is exactly [roadster], [roadster_side] and [roadster_rear]: low and wedge-shaped, smooth white panels, a black lower edge, a thin white light bar across the nose, a thin red light bar across the tail, six-spoke wheels, no rear wing. Its roof is exactly [roadster_roof]: one long dark tinted glass canopy from the windshield to behind the seats. It is an ordinary road car with ordinary wheels: the wheels always stay in their normal place under the body. Nobody is ever in the car: both seats are always empty.
THE THRUSTERS: the car is pushed by high-pressure cold compressed gas. Four nozzles sit in its tail, and four more air thrusters are hidden under its body, one near each wheel. When they switch on, they blast dense white cold vapor, the cold condensation cloud of high-pressure gas: it shoots out hard, expands fast, billows and rolls low along the ground, then thins out and drifts away. The jets under the body are fixed to the car's underside, so when the car rolls over they turn with it.
THE PLACES, each only in its own shot: 0-3s the sunlit concrete quay beside a car-carrier ship, exactly [port]; 3-5.5s the coast road, seen only through the car's windows; 5.5-8s the sloping street down to the railway level crossing and the sea, exactly [crossing]; 8-12s the end of a hillside road at the foot of a stone stairway, tiled rooftops below and the sea beyond, exactly [stairs].
[launch] is real footage of this car launching from a standstill. Use it for scene 1 only, and only for how the car moves and how the vapor moves: the tail squatting as it launches, the hard real acceleration, about one second to cross the whole frame, the white vapor blasting backward and rolling low along the ground. The place, the light and the colors come from [port].
SPEED, for every shot: the car is fast and thrilling but real, like real footage of a real fast car. In every frame the car is a solid car on the road or in the air, moving continuously from one place to the next. Each launch is a real acceleration: the tail squats, the nose lifts a little, the tyres bite, and it gathers speed over a second. Natural motion blur on its wheels and edges, nothing exaggerated. The people filming are always a beat late: their phones swing after the car as it is already leaving the frame, and the blast of air shakes them. Whenever the car passes, the world reacts: vapor, dust, dead leaves, power lines, laundry and plants whip in the blast.
CAMERAS: in scenes 1, 3 and 4 the camera IS a passer-by's phone, handheld at chest height; we never see the phone or any hands. In scene 2 the camera IS the car's own small cabin camera, fixed at the top of the windshield.
Scene 1 (0-3s), PORT: a dock worker's phone on the quay, framed exactly like [port], side-on to the foot of the ship's lowered stern ramp. From the very first frame the empty white car is already rolling down the ramp onto the quay toward frame-LEFT. At 1.0s, side-on to us, it launches toward frame-LEFT exactly like [launch]: its tail squats, a huge burst of dense white cold vapor blasts straight backward out of the four tail nozzles and rolls low along the concrete toward the ramp, filling the right half of the frame, and the car gathers speed so hard that it crosses the frame and is gone out of the left edge about one second later. The phone swings left a beat too late, catching only the vapor and the empty quay; the blast of air shakes it. The white vapor hangs over the quay, drifting.
Scene 2 (3-5.5s), CABIN, framed exactly like [cabin_rear]: the car's cabin camera looks backward at the two empty pale seats. Nobody is in the car. The yoke in the lower right foreground turns by itself, clearly and smoothly, to the left, then back to the right, following the bends of the coast road, nobody touching it. The cabin stays still in the frame. Through the side windows and the small rear window the guardrail, the sea and the rocky shore stream away behind at real speed with motion blur, sunlight and shadow sweeping across the seats as the road bends.
Scene 3 (5.5-8s), CROSSING: a passer-by's phone on the sidewalk partway up the slope, framed exactly like [crossing], looking down the street to the level crossing and the sea. The crossing barriers have just lifted and the cream-and-green tram is pulling away out of the left side of the frame. At 6.0s the white car shoots past right beside the camera at the RIGHT edge of the frame, very close and large, coming from behind the camera, seen from its side and rear, passing the lens in less than half a second; the gust of air jolts the phone and a rising and falling roar of wind and tyres passes. The phone pans after it a beat late: the car races away down the slope, bumps over the rails of the crossing and is small in the distance about a second later.
Scene 4 (8-12s), STAIRS: a passer-by's phone, framed exactly like [stairs]. From the very first frame the white car is already racing in from the lower left of the frame across the small paved patch toward the foot of the stone stairway, where the road runs out. Without slowing, at 8.6s four columns of dense white cold vapor blast straight down from under its body into the paving, a wide ring of vapor, dust and dead leaves bursting outward and swirling, and it lifts off: it climbs steeply over the rooftops toward the upper right, its nose rising, gradually slowing as it climbs; near the top of its climb, from 9.8s to 10.8s, it makes one barrel roll along its length, its four white jets turning with it, and comes back right side up; then it carries on over the rooftops toward the upper right and starts to come down out of sight beyond the hill. The phone tilts up to follow it a beat late. The vapor below keeps swirling and drifting, leaves falling back down.
Keep every scene in exact order, each cut once. Real time from start to finish: normal real-time speed, no slow motion, no speed ramp, no freeze frame, no replay, no pause at the start: the first frame is already moving. Raw real phone footage: slight hand shake, autofocus catching up, mild grain; the cabin camera is fixed and steady. LIGHT: natural light only: the late-morning sun is the only light, real crisp shadows, shaded sides in natural cool shadow, the inside of the car darker than outside. No fill light, no golden hour, no warm filter, nothing specially lit. Muted, slightly desaturated natural tones, low contrast, the quiet natural light of a Christopher Nolan film. Sound: only natural sound: the sharp hiss-bang and rushing roar of the compressed-air thrusters, tyres on concrete and asphalt, the electric hum inside the car, the crossing bell and the tram, wind, dead leaves, gulls at the port. No music, no BGM, no speech. No subtitles, no logos, no readable signs or text.](https://pbs.twimg.com/media/HVPRMP5aQAAEIoS.jpg)
Olivia
Online
Alessia
@alessia_orbit
AI short films. One experiment a day.
Prompt + pitfalls in every post.
Joined June 2026
175 Following
139 Followers
871 Posts
Pinned Tweet
捏了五十次,还是不像我自己。
Fifty tries. The clay keeps handing me back a stranger.
Prompt + Pitfalls 👇
@EEJ_OOXO @charmant402 @checheluna3 @BBuya1223 @Someday_sr @MJk9656 @parksundal0528 this b&w version is pretty cool! 😎
New at Hogwarts, and this lot have decided to sort me out, one lesson at a time.
Lesson one, Ron Weasley. Loyal to the bone, permanently starving. Swears ties are easy.
@FufuCreates 1秒も休ませてくれないですね😆
@FufuCreates 通勤は楽だけど、心の準備する時間がない😂
@hx831126 Looking good 👍🏼
The first version of this joke was a tie with the thin end hanging too long. Three storyboards in a row couldn't draw it, so I switched to something every model knows: a shoelace bow.
Seedance 2.5 · 1 render
@aran_leigh Ohhhhh I can feel something big is coming 😆
@aimikoda thx for sharing this! ppl keep saying opus 5.5 is catching up to ae. its so easy and the results look really pro
@imhealmachine This comes in handy, thx for sharing 🫶🏼
@studio_oneroom すごく参考になります！映画やドラマ、楽しみにしてます 🎬
@DeepBlueX0 完整 360 度转一圈的效果很好，感觉可以用在好多地方。女主也好漂亮 🤩🤩
@AI__TSUBAKI always look forward to your videos. love your camera moves and angles, and all the foreground shots make it so immersive ✨
@hx831126 Wow truly maximizing AI 🙇♂️
@aiwithaayat haha thx! this roadster has so many ideas to play with 😆
How to take delivery of a Roadster in Japan:
1. Accept.
2. Brush your hair.
3. No parking spot? Don't worry about it.
Seedance 2.5
Everyone's rushing to school to meet Malfoy.
Thank god for the Roadster. We made it on the train.
みんな、マルフォイに会いに学校へ急いでる。
Roadsterのおかげで、汽車に乗れた。
Seedance 2.5
The storyboards I checked first, including the wall-parking shot that took three tries, and the full prompts.
Seedance 2.5 · 2 renders · ~$6.40
Full Seedance 2.5 prompts 👇🏻
Words in [ ] are the references I uploaded: [character], [bed], [vanity], [lane], [wall_front], [roadster], [roadster_side], [roadster_rear], [roadster_roof], [port], [cabin_rear], [crossing], [stairs] (images) and [launch] (a 2-second real launch clip).
Render 1 · at home and in the lane (26s)
Create a 26-second ultra-realistic smartphone vlog filmed by Yumi, a young woman, on the morning her friend Alessia's new car is delivered, at Alessia's small house in a hillside town by the sea in Japan. It is cut together from eight short shots, all filmed on Yumi's phone, always close to Alessia. Yumi is never seen; only her voice is heard.
[character] is the only source for Alessia's face, hair, body and outfit; her face follows [character] exactly in every shot. Age 24, a grown woman in her mid-twenties. Matte natural skin, a bare natural face with no makeup. Long dark brown hair worn down, natural and almost straight with only a slight soft bend at the ends, a soft side part; when she sweeps it back, her face stays clear. The same outfit the whole time: a cozy two-piece pajama set in soft fluffy plush fleece with wide pastel pink and cream horizontal stripes: a loose oversized long-sleeved pullover with a small soft hood with two little rounded bear ears, and matching loose long pajama pants gathered at the ankles; fluffy cream house slippers. Her expressions stay small and natural, like real candid phone footage; her reactions come from what is happening.
THE PLACES, each only in its own time range: 0-9s her bedroom, exactly [bed]; 9-14s the corner with the low wooden stool, the table of hair tools and the window with a sheer curtain, exactly [vanity]; 14-19s the narrow lane outside her front door, seen from her doorstep looking along the lane, exactly [lane]: old grey paving painted all over with big yellow 駐車禁止 markings and hatch stripes, the tall grey granite retaining wall on the right; 19-26s the same lane seen from her doorstep looking straight across it at the retaining wall, exactly [wall_front].
THE CAR (from 14s): a white two-seat electric sports car, its body exactly [roadster], [roadster_side] and [roadster_rear]: low and wedge-shaped, smooth white panels, a black lower edge, a thin white light bar across the nose, six-spoke wheels. Its roof is exactly [roadster_roof]: one long dark tinted glass canopy. It is an ordinary road car with ordinary wheels: the wheels always stay in their normal place under the body. Nobody is in the car. Four air thrusters are hidden under its body, one near each wheel; when they switch on, they blast dense white cold vapor, the cold condensation cloud of high-pressure compressed gas, which shoots out hard, expands fast and rolls outward along the ground, then thins and drifts away. Suction fans under its body can hold it flat against a wall.
CAMERA: the camera IS Yumi's phone, held at her chest height; we never see the phone or any hands. It stays close to Alessia, ordinary phone lens, slightly tilted and a little off-center, a slight hand shake, caught a moment late. Each shot is framed exactly like its place image.
Scene 1 (0-3.5s), BED, framed exactly like [bed]: Alessia sits on the edge of the rumpled bed, feet on the floor, in the middle of a big lazy morning stretch, both arms raised straight up over her head, fingers laced, back arched a little, a small sleepy yawn behind closed lips. At 2.0s her phone on the bedside shelf lights up with a soft notification chime. She lowers her arms and picks it up with both hands.
Scene 2 (3.5-9s), the same view: she holds the phone in both hands, its screen facing her and away from us, and reads it; a small surprised smile grows. At 5.0s she taps the screen once with her right thumb. Then she turns to the camera, delighted but restrained, lips just parted, so happy she can hardly sit still, and says in Japanese, in a young woman's voice with a slight foreign accent: 「ユミ！ロードスター、取りに行けるって！」 Yumi, the young woman behind the camera, in her high bright girl's voice, short and dry: 「駐車場ないのに？」 Alessia waves it off with her right hand, the phone in her left, and says brightly: 「なんとかなる！」
Scene 3 (9-12.5s), MIRROR, framed exactly like [vanity]: Alessia sits on the low wooden stool, looking into the mirror just to the right of the lens, not at the lens, unhurried and relaxed, a small content closed-lip smile. A hairbrush is in her LEFT hand; she slowly brushes her long hair, then sweeps it back over her shoulder with her right hand. Yumi, the young woman behind the camera, in her high bright girl's voice: 「急がなくていいの？」 Alessia, still looking in the mirror, calm: 「車は逃げないよ。」
Scene 4 (12.5-14s), the same view: a sudden gust: outside the window a burst of white vapor sweeps past and the sheer curtain billows into the room. Alessia's right hand stops in the air in the middle of sweeping her hair, the hairbrush still in her LEFT hand, and she turns her head to the window. Alessia, quietly: 「…ん？」
Scene 5 (14-17.5s), LANDING, framed exactly like [lane], the phone right behind Alessia's shoulder: she has just burst out of the sliding front door on the left onto the doorstep, the hairbrush still in her LEFT hand, and stopped, looking up. The empty white car is coming down out of the sky into the lane in front of her, nose toward us, level: it comes down fast, then slows hard over the last few metres as four columns of dense white cold vapor blast straight down from under it, hit the painted paving and burst outward in a wide rolling ring of vapor, dust and dead leaves; the potted plants by her door whip in the blast and her hair is blown back. At 16.5s it touches down on all four wheels in the middle of the lane, its body sinking on its suspension and rising once, and the jets stop. Yumi, the young woman behind the camera, stunned, quietly at a normal speaking volume, in her high bright girl's voice: 「…車のほうから来た。」
Scene 6 (17.5-19s), the same view: the car sits still in the middle of the lane, a last wisp of vapor drifting off it. The phone tilts down a little: all around the car the paving is painted with the big yellow 駐車禁止 markings and hatch stripes, from side to side. A soft electronic chime from the car.
Scene 7 (19-22.5s), WALL, framed exactly like [wall_front]: Yumi stands on the doorstep and films straight across the lane at the retaining wall, the wall filling the background from side to side, a strip of painted paving along the bottom. Alessia stands in the lane in the lower left foreground, between us and the wall, seen from her knees up, the hairbrush in her LEFT hand. The white car, side-on to us in the lane in front of the wall, rises about a metre on four short white jets and rolls a quarter turn, so that its underside swings toward the wall and its dark glass roof turns toward us, and it moves sideways onto the wall until all four tyres press flat against the stones. At 21.5s the jets stop, the suction fans take hold with a low humming suck and a soft thud, and it stays there: parked flat on the wall, its dark glass roof facing us, its length running horizontally across the frame, about one metre above the paving, level and parallel to the ground like a car parked along a kerb, a thin wisp of white vapor at its edges. Yumi, the young woman behind the camera, quietly at a normal speaking volume, in her high bright girl's voice: 「え、え、え…」
Scene 8 (22.5-26s), the same view: the car stays parked flat on the wall, its fans humming low. Alessia, in her fluffy pajamas and slippers, the hairbrush in her LEFT hand, stands below it and slowly tilts her head far over to one side as she looks at the car on the wall, a small deadpan expression. Then she says flatly in Japanese, in the same young woman's voice: 「…なんとかなった。」 Hold on that.
Keep every scene in exact order, each cut once. Real time from start to finish: normal real-time speed, no slow motion, no speed ramp, no freeze frame, no replay, no pause at the start. Raw casual phone vlog: slight hand shake, autofocus catching up, mild grain. LIGHT: natural light only. Indoors, the morning sun through the window on the LEFT is the only light: her left side lit, the right side of the frame falling off into soft natural shadow. Outdoors, the late-morning sun is the only light, with real crisp shadows; the retaining wall sits in natural cool shadow, the car lit by the same daylight as the stones around it. No fill light, no studio or beauty light, no golden hour, no warm filter, nothing specially lit. Muted, slightly desaturated natural tones, low contrast, the quiet natural light of a Christopher Nolan film. Sound: only natural sound: the phone's notification chime, the brush through her hair, the rushing hiss and roar of the compressed-air thrusters, leaves and grit scattering, the car's tyres and suspension, the low hum of its suction fans, birds, the far-off sea. No music, no BGM, no whoosh effects. Only two voices are ever heard, both young women's, both speaking only Japanese; there is no male voice. Each line is said once, only by the person it belongs to. No subtitles, no logos, no text anywhere except the painted 駐車禁止 on the paving.
Render 2 · the car on its way (12s)
Create a 12-second ultra-realistic video in a small hillside town by the sea in Japan on a clear late morning. It is cut together from four short shots, each from a different real camera: a dock worker's phone, the car's own small cabin camera, a passer-by's phone at a railway level crossing, and another passer-by's phone at the foot of a stone stairway. They follow one white two-seat electric sports car that drives and flies itself, with nobody inside, from the port to its new owner's house.
THE CAR: its body is exactly [roadster], [roadster_side] and [roadster_rear]: low and wedge-shaped, smooth white panels, a black lower edge, a thin white light bar across the nose, a thin red light bar across the tail, six-spoke wheels, no rear wing. Its roof is exactly [roadster_roof]: one long dark tinted glass canopy from the windshield to behind the seats. It is an ordinary road car with ordinary wheels: the wheels always stay in their normal place under the body. Nobody is ever in the car: both seats are always empty.
THE THRUSTERS: the car is pushed by high-pressure cold compressed gas. Four nozzles sit in its tail, and four more air thrusters are hidden under its body, one near each wheel. When they switch on, they blast dense white cold vapor, the cold condensation cloud of high-pressure gas: it shoots out hard, expands fast, billows and rolls low along the ground, then thins out and drifts away. The jets under the body are fixed to the car's underside, so when the car rolls over they turn with it.
THE PLACES, each only in its own shot: 0-3s the sunlit concrete quay beside a car-carrier ship, exactly [port]; 3-5.5s the coast road, seen only through the car's windows; 5.5-8s the sloping street down to the railway level crossing and the sea, exactly [crossing]; 8-12s the end of a hillside road at the foot of a stone stairway, tiled rooftops below and the sea beyond, exactly [stairs].
[launch] is real footage of this car launching from a standstill. Use it for scene 1 only, and only for how the car moves and how the vapor moves: the tail squatting as it launches, the hard real acceleration, about one second to cross the whole frame, the white vapor blasting backward and rolling low along the ground. The place, the light and the colors come from [port].
SPEED, for every shot: the car is fast and thrilling but real, like real footage of a real fast car. In every frame the car is a solid car on the road or in the air, moving continuously from one place to the next. Each launch is a real acceleration: the tail squats, the nose lifts a little, the tyres bite, and it gathers speed over a second. Natural motion blur on its wheels and edges, nothing exaggerated. The people filming are always a beat late: their phones swing after the car as it is already leaving the frame, and the blast of air shakes them. Whenever the car passes, the world reacts: vapor, dust, dead leaves, power lines, laundry and plants whip in the blast.
CAMERAS: in scenes 1, 3 and 4 the camera IS a passer-by's phone, handheld at chest height; we never see the phone or any hands. In scene 2 the camera IS the car's own small cabin camera, fixed at the top of the windshield.
Scene 1 (0-3s), PORT: a dock worker's phone on the quay, framed exactly like [port], side-on to the foot of the ship's lowered stern ramp. From the very first frame the empty white car is already rolling down the ramp onto the quay toward frame-LEFT. At 1.0s, side-on to us, it launches toward frame-LEFT exactly like [launch]: its tail squats, a huge burst of dense white cold vapor blasts straight backward out of the four tail nozzles and rolls low along the concrete toward the ramp, filling the right half of the frame, and the car gathers speed so hard that it crosses the frame and is gone out of the left edge about one second later. The phone swings left a beat too late, catching only the vapor and the empty quay; the blast of air shakes it. The white vapor hangs over the quay, drifting.
Scene 2 (3-5.5s), CABIN, framed exactly like [cabin_rear]: the car's cabin camera looks backward at the two empty pale seats. Nobody is in the car. The yoke in the lower right foreground turns by itself, clearly and smoothly, to the left, then back to the right, following the bends of the coast road, nobody touching it. The cabin stays still in the frame. Through the side windows and the small rear window the guardrail, the sea and the rocky shore stream away behind at real speed with motion blur, sunlight and shadow sweeping across the seats as the road bends.
Scene 3 (5.5-8s), CROSSING: a passer-by's phone on the sidewalk partway up the slope, framed exactly like [crossing], looking down the street to the level crossing and the sea. The crossing barriers have just lifted and the cream-and-green tram is pulling away out of the left side of the frame. At 6.0s the white car shoots past right beside the camera at the RIGHT edge of the frame, very close and large, coming from behind the camera, seen from its side and rear, passing the lens in less than half a second; the gust of air jolts the phone and a rising and falling roar of wind and tyres passes. The phone pans after it a beat late: the car races away down the slope, bumps over the rails of the crossing and is small in the distance about a second later.
Scene 4 (8-12s), STAIRS: a passer-by's phone, framed exactly like [stairs]. From the very first frame the white car is already racing in from the lower left of the frame across the small paved patch toward the foot of the stone stairway, where the road runs out. Without slowing, at 8.6s four columns of dense white cold vapor blast straight down from under its body into the paving, a wide ring of vapor, dust and dead leaves bursting outward and swirling, and it lifts off: it climbs steeply over the rooftops toward the upper right, its nose rising, gradually slowing as it climbs; near the top of its climb, from 9.8s to 10.8s, it makes one barrel roll along its length, its four white jets turning with it, and comes back right side up; then it carries on over the rooftops toward the upper right and starts to come down out of sight beyond the hill. The phone tilts up to follow it a beat late. The vapor below keeps swirling and drifting, leaves falling back down.
Keep every scene in exact order, each cut once. Real time from start to finish: normal real-time speed, no slow motion, no speed ramp, no freeze frame, no replay, no pause at the start: the first frame is already moving. Raw real phone footage: slight hand shake, autofocus catching up, mild grain; the cabin camera is fixed and steady. LIGHT: natural light only: the late-morning sun is the only light, real crisp shadows, shaded sides in natural cool shadow, the inside of the car darker than outside. No fill light, no golden hour, no warm filter, nothing specially lit. Muted, slightly desaturated natural tones, low contrast, the quiet natural light of a Christopher Nolan film. Sound: only natural sound: the sharp hiss-bang and rushing roar of the compressed-air thrusters, tyres on concrete and asphalt, the electric hum inside the car, the crossing bell and the tram, wind, dead leaves, gulls at the port. No music, no BGM, no speech. No subtitles, no logos, no readable signs or text.
![alessia_orbit's tweet photo. The storyboards I checked first, including the wall-parking shot that took three tries, and the full prompts.
Seedance 2.5 · 2 renders · ~$6.40
Full Seedance 2.5 prompts 👇🏻
Words in [ ] are the references I uploaded: [character], [bed], [vanity], [lane], [wall_front], [roadster], [roadster_side], [roadster_rear], [roadster_roof], [port], [cabin_rear], [crossing], [stairs] (images) and [launch] (a 2-second real launch clip).
Render 1 · at home and in the lane (26s)
Create a 26-second ultra-realistic smartphone vlog filmed by Yumi, a young woman, on the morning her friend Alessia's new car is delivered, at Alessia's small house in a hillside town by the sea in Japan. It is cut together from eight short shots, all filmed on Yumi's phone, always close to Alessia. Yumi is never seen; only her voice is heard.
[character] is the only source for Alessia's face, hair, body and outfit; her face follows [character] exactly in every shot. Age 24, a grown woman in her mid-twenties. Matte natural skin, a bare natural face with no makeup. Long dark brown hair worn down, natural and almost straight with only a slight soft bend at the ends, a soft side part; when she sweeps it back, her face stays clear. The same outfit the whole time: a cozy two-piece pajama set in soft fluffy plush fleece with wide pastel pink and cream horizontal stripes: a loose oversized long-sleeved pullover with a small soft hood with two little rounded bear ears, and matching loose long pajama pants gathered at the ankles; fluffy cream house slippers. Her expressions stay small and natural, like real candid phone footage; her reactions come from what is happening.
THE PLACES, each only in its own time range: 0-9s her bedroom, exactly [bed]; 9-14s the corner with the low wooden stool, the table of hair tools and the window with a sheer curtain, exactly [vanity]; 14-19s the narrow lane outside her front door, seen from her doorstep looking along the lane, exactly [lane]: old grey paving painted all over with big yellow 駐車禁止 markings and hatch stripes, the tall grey granite retaining wall on the right; 19-26s the same lane seen from her doorstep looking straight across it at the retaining wall, exactly [wall_front].
THE CAR (from 14s): a white two-seat electric sports car, its body exactly [roadster], [roadster_side] and [roadster_rear]: low and wedge-shaped, smooth white panels, a black lower edge, a thin white light bar across the nose, six-spoke wheels. Its roof is exactly [roadster_roof]: one long dark tinted glass canopy. It is an ordinary road car with ordinary wheels: the wheels always stay in their normal place under the body. Nobody is in the car. Four air thrusters are hidden under its body, one near each wheel; when they switch on, they blast dense white cold vapor, the cold condensation cloud of high-pressure compressed gas, which shoots out hard, expands fast and rolls outward along the ground, then thins and drifts away. Suction fans under its body can hold it flat against a wall.
CAMERA: the camera IS Yumi's phone, held at her chest height; we never see the phone or any hands. It stays close to Alessia, ordinary phone lens, slightly tilted and a little off-center, a slight hand shake, caught a moment late. Each shot is framed exactly like its place image.
Scene 1 (0-3.5s), BED, framed exactly like [bed]: Alessia sits on the edge of the rumpled bed, feet on the floor, in the middle of a big lazy morning stretch, both arms raised straight up over her head, fingers laced, back arched a little, a small sleepy yawn behind closed lips. At 2.0s her phone on the bedside shelf lights up with a soft notification chime. She lowers her arms and picks it up with both hands.
Scene 2 (3.5-9s), the same view: she holds the phone in both hands, its screen facing her and away from us, and reads it; a small surprised smile grows. At 5.0s she taps the screen once with her right thumb. Then she turns to the camera, delighted but restrained, lips just parted, so happy she can hardly sit still, and says in Japanese, in a young woman's voice with a slight foreign accent: 「ユミ！ロードスター、取りに行けるって！」 Yumi, the young woman behind the camera, in her high bright girl's voice, short and dry: 「駐車場ないのに？」 Alessia waves it off with her right hand, the phone in her left, and says brightly: 「なんとかなる！」
Scene 3 (9-12.5s), MIRROR, framed exactly like [vanity]: Alessia sits on the low wooden stool, looking into the mirror just to the right of the lens, not at the lens, unhurried and relaxed, a small content closed-lip smile. A hairbrush is in her LEFT hand; she slowly brushes her long hair, then sweeps it back over her shoulder with her right hand. Yumi, the young woman behind the camera, in her high bright girl's voice: 「急がなくていいの？」 Alessia, still looking in the mirror, calm: 「車は逃げないよ。」
Scene 4 (12.5-14s), the same view: a sudden gust: outside the window a burst of white vapor sweeps past and the sheer curtain billows into the room. Alessia's right hand stops in the air in the middle of sweeping her hair, the hairbrush still in her LEFT hand, and she turns her head to the window. Alessia, quietly: 「…ん？」
Scene 5 (14-17.5s), LANDING, framed exactly like [lane], the phone right behind Alessia's shoulder: she has just burst out of the sliding front door on the left onto the doorstep, the hairbrush still in her LEFT hand, and stopped, looking up. The empty white car is coming down out of the sky into the lane in front of her, nose toward us, level: it comes down fast, then slows hard over the last few metres as four columns of dense white cold vapor blast straight down from under it, hit the painted paving and burst outward in a wide rolling ring of vapor, dust and dead leaves; the potted plants by her door whip in the blast and her hair is blown back. At 16.5s it touches down on all four wheels in the middle of the lane, its body sinking on its suspension and rising once, and the jets stop. Yumi, the young woman behind the camera, stunned, quietly at a normal speaking volume, in her high bright girl's voice: 「…車のほうから来た。」
Scene 6 (17.5-19s), the same view: the car sits still in the middle of the lane, a last wisp of vapor drifting off it. The phone tilts down a little: all around the car the paving is painted with the big yellow 駐車禁止 markings and hatch stripes, from side to side. A soft electronic chime from the car.
Scene 7 (19-22.5s), WALL, framed exactly like [wall_front]: Yumi stands on the doorstep and films straight across the lane at the retaining wall, the wall filling the background from side to side, a strip of painted paving along the bottom. Alessia stands in the lane in the lower left foreground, between us and the wall, seen from her knees up, the hairbrush in her LEFT hand. The white car, side-on to us in the lane in front of the wall, rises about a metre on four short white jets and rolls a quarter turn, so that its underside swings toward the wall and its dark glass roof turns toward us, and it moves sideways onto the wall until all four tyres press flat against the stones. At 21.5s the jets stop, the suction fans take hold with a low humming suck and a soft thud, and it stays there: parked flat on the wall, its dark glass roof facing us, its length running horizontally across the frame, about one metre above the paving, level and parallel to the ground like a car parked along a kerb, a thin wisp of white vapor at its edges. Yumi, the young woman behind the camera, quietly at a normal speaking volume, in her high bright girl's voice: 「え、え、え…」
Scene 8 (22.5-26s), the same view: the car stays parked flat on the wall, its fans humming low. Alessia, in her fluffy pajamas and slippers, the hairbrush in her LEFT hand, stands below it and slowly tilts her head far over to one side as she looks at the car on the wall, a small deadpan expression. Then she says flatly in Japanese, in the same young woman's voice: 「…なんとかなった。」 Hold on that.
Keep every scene in exact order, each cut once. Real time from start to finish: normal real-time speed, no slow motion, no speed ramp, no freeze frame, no replay, no pause at the start. Raw casual phone vlog: slight hand shake, autofocus catching up, mild grain. LIGHT: natural light only. Indoors, the morning sun through the window on the LEFT is the only light: her left side lit, the right side of the frame falling off into soft natural shadow. Outdoors, the late-morning sun is the only light, with real crisp shadows; the retaining wall sits in natural cool shadow, the car lit by the same daylight as the stones around it. No fill light, no studio or beauty light, no golden hour, no warm filter, nothing specially lit. Muted, slightly desaturated natural tones, low contrast, the quiet natural light of a Christopher Nolan film. Sound: only natural sound: the phone's notification chime, the brush through her hair, the rushing hiss and roar of the compressed-air thrusters, leaves and grit scattering, the car's tyres and suspension, the low hum of its suction fans, birds, the far-off sea. No music, no BGM, no whoosh effects. Only two voices are ever heard, both young women's, both speaking only Japanese; there is no male voice. Each line is said once, only by the person it belongs to. No subtitles, no logos, no text anywhere except the painted 駐車禁止 on the paving.
Render 2 · the car on its way (12s)
Create a 12-second ultra-realistic video in a small hillside town by the sea in Japan on a clear late morning. It is cut together from four short shots, each from a different real camera: a dock worker's phone, the car's own small cabin camera, a passer-by's phone at a railway level crossing, and another passer-by's phone at the foot of a stone stairway. They follow one white two-seat electric sports car that drives and flies itself, with nobody inside, from the port to its new owner's house.
THE CAR: its body is exactly [roadster], [roadster_side] and [roadster_rear]: low and wedge-shaped, smooth white panels, a black lower edge, a thin white light bar across the nose, a thin red light bar across the tail, six-spoke wheels, no rear wing. Its roof is exactly [roadster_roof]: one long dark tinted glass canopy from the windshield to behind the seats. It is an ordinary road car with ordinary wheels: the wheels always stay in their normal place under the body. Nobody is ever in the car: both seats are always empty.
THE THRUSTERS: the car is pushed by high-pressure cold compressed gas. Four nozzles sit in its tail, and four more air thrusters are hidden under its body, one near each wheel. When they switch on, they blast dense white cold vapor, the cold condensation cloud of high-pressure gas: it shoots out hard, expands fast, billows and rolls low along the ground, then thins out and drifts away. The jets under the body are fixed to the car's underside, so when the car rolls over they turn with it.
THE PLACES, each only in its own shot: 0-3s the sunlit concrete quay beside a car-carrier ship, exactly [port]; 3-5.5s the coast road, seen only through the car's windows; 5.5-8s the sloping street down to the railway level crossing and the sea, exactly [crossing]; 8-12s the end of a hillside road at the foot of a stone stairway, tiled rooftops below and the sea beyond, exactly [stairs].
[launch] is real footage of this car launching from a standstill. Use it for scene 1 only, and only for how the car moves and how the vapor moves: the tail squatting as it launches, the hard real acceleration, about one second to cross the whole frame, the white vapor blasting backward and rolling low along the ground. The place, the light and the colors come from [port].
SPEED, for every shot: the car is fast and thrilling but real, like real footage of a real fast car. In every frame the car is a solid car on the road or in the air, moving continuously from one place to the next. Each launch is a real acceleration: the tail squats, the nose lifts a little, the tyres bite, and it gathers speed over a second. Natural motion blur on its wheels and edges, nothing exaggerated. The people filming are always a beat late: their phones swing after the car as it is already leaving the frame, and the blast of air shakes them. Whenever the car passes, the world reacts: vapor, dust, dead leaves, power lines, laundry and plants whip in the blast.
CAMERAS: in scenes 1, 3 and 4 the camera IS a passer-by's phone, handheld at chest height; we never see the phone or any hands. In scene 2 the camera IS the car's own small cabin camera, fixed at the top of the windshield.
Scene 1 (0-3s), PORT: a dock worker's phone on the quay, framed exactly like [port], side-on to the foot of the ship's lowered stern ramp. From the very first frame the empty white car is already rolling down the ramp onto the quay toward frame-LEFT. At 1.0s, side-on to us, it launches toward frame-LEFT exactly like [launch]: its tail squats, a huge burst of dense white cold vapor blasts straight backward out of the four tail nozzles and rolls low along the concrete toward the ramp, filling the right half of the frame, and the car gathers speed so hard that it crosses the frame and is gone out of the left edge about one second later. The phone swings left a beat too late, catching only the vapor and the empty quay; the blast of air shakes it. The white vapor hangs over the quay, drifting.
Scene 2 (3-5.5s), CABIN, framed exactly like [cabin_rear]: the car's cabin camera looks backward at the two empty pale seats. Nobody is in the car. The yoke in the lower right foreground turns by itself, clearly and smoothly, to the left, then back to the right, following the bends of the coast road, nobody touching it. The cabin stays still in the frame. Through the side windows and the small rear window the guardrail, the sea and the rocky shore stream away behind at real speed with motion blur, sunlight and shadow sweeping across the seats as the road bends.
Scene 3 (5.5-8s), CROSSING: a passer-by's phone on the sidewalk partway up the slope, framed exactly like [crossing], looking down the street to the level crossing and the sea. The crossing barriers have just lifted and the cream-and-green tram is pulling away out of the left side of the frame. At 6.0s the white car shoots past right beside the camera at the RIGHT edge of the frame, very close and large, coming from behind the camera, seen from its side and rear, passing the lens in less than half a second; the gust of air jolts the phone and a rising and falling roar of wind and tyres passes. The phone pans after it a beat late: the car races away down the slope, bumps over the rails of the crossing and is small in the distance about a second later.
Scene 4 (8-12s), STAIRS: a passer-by's phone, framed exactly like [stairs]. From the very first frame the white car is already racing in from the lower left of the frame across the small paved patch toward the foot of the stone stairway, where the road runs out. Without slowing, at 8.6s four columns of dense white cold vapor blast straight down from under its body into the paving, a wide ring of vapor, dust and dead leaves bursting outward and swirling, and it lifts off: it climbs steeply over the rooftops toward the upper right, its nose rising, gradually slowing as it climbs; near the top of its climb, from 9.8s to 10.8s, it makes one barrel roll along its length, its four white jets turning with it, and comes back right side up; then it carries on over the rooftops toward the upper right and starts to come down out of sight beyond the hill. The phone tilts up to follow it a beat late. The vapor below keeps swirling and drifting, leaves falling back down.
Keep every scene in exact order, each cut once. Real time from start to finish: normal real-time speed, no slow motion, no speed ramp, no freeze frame, no replay, no pause at the start: the first frame is already moving. Raw real phone footage: slight hand shake, autofocus catching up, mild grain; the cabin camera is fixed and steady. LIGHT: natural light only: the late-morning sun is the only light, real crisp shadows, shaded sides in natural cool shadow, the inside of the car darker than outside. No fill light, no golden hour, no warm filter, nothing specially lit. Muted, slightly desaturated natural tones, low contrast, the quiet natural light of a Christopher Nolan film. Sound: only natural sound: the sharp hiss-bang and rushing roar of the compressed-air thrusters, tyres on concrete and asphalt, the electric hum inside the car, the crossing bell and the tram, wind, dead leaves, gulls at the port. No music, no BGM, no speech. No subtitles, no logos, no readable signs or text.](https://pbs.twimg.com/media/HVPRMQHaUAAEP8P.jpg)
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