Fish Creative

3 days ago

AI finally gets outfit transformations right. Made by using GPT Image 2 + Seedance 2.0 on @FishCreativeHQ prompt Image 1 SHARON'S REAL FACE — sole source of her features, 100% match, zero drift: soft rounded oval face, warm light-beige skin with tiny freckles and beauty marks, GREEN eyes, dense straight feathered brows, small neat nose, full pink lips, small silver drop earring. Use the uploaded REFERENCE VIDEO Video 1 as the absolute master for timing, camera movement, body motion, pose, facial-expression timing, interaction, transition rhythm, pixel effects, outfit-change effects, framing, and overall choreography. Replace the original woman with Image 2 as the ONLY replacement human identity. From this point onward, refer to her only as THE FEMALE CHARACTER Image 1. CRITICAL REFERENCE PRIORITY: REFERENCE VIDEO controls: exact motion exact timing exact camera movement body choreography pose changes head movement hand movement facial-expression timing interaction with the other man transition timing outfit-change timing pixel effects digital clothing-change effects framing speed ramps movement through the pixels overall visual rhythm THE FEMALE CHARACTER controls: identity @Image 2 face hairstyle head shape skin tone body proportions gender presentation The original woman is NOT an identity reference. She controls motion only. The generated video must follow the reference video as closely as possible, but the woman must be completely replaced by the same female character @Image 1 throughout the entire sequence. ================================================== ABSOLUTE IDENTITY LOCK There is only ONE replacement identity throughout the video: THE SAME FEMALE CHARACTER. Her identity must remain completely stable in EVERY FRAME. This includes: normal frames fast-motion frames motion blur transition frames pixel transformation frames clothing-change frames partially occluded frames close-ups profile angles extreme angles frames where another person crosses in front of her Never restore the original woman's identity. Never reveal the woman's face. Never reveal the woman's body. Never blend the reference video female character with the woman of reference pictures. Never create a temporary female version. Never morph from male to female and back. Even if the transformation lasts only a few frames, those frames must still contain the SAME female character. @Image 2 ================================================== MOST IMPORTANT OUTFIT CHANGE RULE THE CLOTHING TRANSFORMS. THE HUMAN DOES NOT. Every pixel transformation, digital breakup, clothing replacement, color change, texture change, or outfit transition applies ONLY to the clothes. The female character underneath remains physically identical. Correct visual logic: SAME female character wearing Outfit A → pixel effect begins across clothing → clothing breaks into / passes through digital pixels → SAME female character @Image 1 remains underneath → Outfit B forms on the SAME body → SAME female character @Image 2 continues moving Never: female character → pixels → original woman → clothing changes → female character returns. The pixel effect must never act as an identity-change transition. ================================================== PIXEL EFFECT BEHAVIOR Recreate the original reference video's pixel effect as closely as possible. Match: direction density speed size timing breakup behavior digital fragmentation reassembly interaction with the body interaction with the other man moment when clothing changes The pixels should feel integrated into the physical scene. When the other woman passes through the pixel field, preserve that original interaction exactly. Her body should visibly move through / be partially occluded by the pixels in the same way as the reference video. Do not replace this with: smoke magic particles unrelated to the reference light beams portals generic dissolves morphing bodies Keep the distinctive pixel clothing-change effect from the source. ================================================== FACE LOCK DURING PIXEL TRANSITIONS The female character's FACE @Image 2 is permanently locked. If pixels move across the face or temporarily obscure part of it, the visible portions of the face must remain the same identity. When the pixels pass away, the exact same face must be underneath. Never reconstruct hidden facial areas using the original woman. The face before, during, and after every transformation is the same person. ================================================== BODY LOCK DURING OUTFIT CHANGES Keep the female character's body proportions stable continuously. The clothes adapt to her @Image 2 body. Do not reshape her body to match the woman from the source video. Maintain: female shoulder width torso proportions waist proportions arms legs height posture hand size overall silhouette The original woman's body is motion guidance only. The female character performs her movement while remaining physically herself. @Image 1 ================================================== MOTION MATCHING Follow the reference video's @Video 1 movement as closely as possible. Do not reinterpret the choreography. Match: exact body direction exact turns exact head movement exact timing exact pauses exact walking movement exact hand placement exact interaction exact acceleration exact deceleration exact movement through the pixel effect The character replacement should feel like the same footage was filmed with a different actor. Do not invent new gestures. Do not simplify the original performance. Do not change the rhythm. ================================================== FACIAL EXPRESSION Copy the original woman's facial-expression TIMING and emotional beats while keeping the replacement female identity @Image 2 Match: gaze direction eyebrow movement smiles attitude reactions head tilts timing of expression changes The expression may follow the source, but the actual facial anatomy must always remain the female character. ================================================== OTHER WOMAN IN THE VIDEO Keep the other woman from the original reference video unchanged. Do not replace her. Do not modify her identity. Do not alter her expression. Do not change her clothing unless the original reference itself changes it. Preserve her: exact facial expression body motion timing position interaction movement through the pixels reaction to the transformation she should behave exactly as she does in the reference footage. Only the original woman is replaced. ================================================== CAMERA Follow the reference camera movement exactly. Preserve: camera direction camera speed framing tracking rotation zoom distance perspective movement timing transition timing Do not redesign the shot. Do not make the camera more cinematic. Do not add extra camera movement. Do not remove original camera movement. The goal is maximum motion fidelity to the reference video. ================================================== TIMING The reference video's timeline is absolute. Every major action must happen at the same relative moment as the reference: character movement interaction pixel activation clothing transformation other woman's movement through the pixels expression changes camera movement transition completion Do not stretch the sequence. Do not shorten the sequence. Do not insert extra pauses. Do not move outfit changes earlier or later. ================================================== TRANSFORMATION CONTINUITY During every outfit transformation: Frame before: female character wearing current outfit. Transformation frames: SAME female character remains present while pixels modify ONLY the clothing. Frame after: SAME female character wearing the new outfit. There must be continuous identity across all three stages. Imagine tracking the character's skull, face, skin, hands, arms, body and silhouette through every transformation frame. Those physical features must remain locked. Only fabric, clothing color, clothing shape and clothing texture are allowed to change. ================================================== OCCLUSION RULE When pixels or another person cover part of the female character, do not use that occlusion as an opportunity to regenerate the original woman. Hidden areas must remain mentally anchored to the same male body underneath. When the occlusion clears: reveal the SAME female character @Image 2. Not the reference woman. This applies especially when: the other woman crosses in front the pixel cloud becomes dense clothing changes rapidly motion blur increases the camera changes angle ================================================== REALISM Keep everything photorealistic and physically believable. Use: realistic skin texture natural hair realistic clothing fabric believable fabric folds realistic shadows proper contact between clothing and body natural motion blur correct lighting interaction consistent depth realistic pixel occlusion Do not make the character look: cartoon anime plastic over-sharpened game-rendered waxy ================================================== DO NOT CHANGE THE ORIGINAL EFFECT Preserve the visual concept of the reference exactly. Do not replace the pixel effect with a different transformation style. The important visual moment where the other man passes through / interacts with the pixel clothing-change effect must remain. Maintain the same sense that the digital pixels are occupying physical space and the other man is moving through them. ================================================== FINAL PRIORITY ORDER If Seedance encounters conflicting reference information, follow this order: FEMALE @Image 2 CHARACTER IDENTITY REFERENCE VIDEO MOTION + TIMING REFERENCE VIDEO CAMERA MOVEMENT REFERENCE VIDEO PIXEL / OUTFIT EFFECT REFERENCE VIDEO EXPRESSIONS OUTFIT DETAILS Identity must NEVER be sacrificed to recreate the transformation. If reproducing the source effect perfectly would cause the original woman to reappear, slightly simplify the effect instead. NEVER sacrifice identity continuity. ================================================== FINAL FAILURE PREVENTION DO NOT bring the original woman back during outfit changes. DO NOT use the woman as an intermediate transformation frame. DO NOT switch gender during pixel effects. DO NOT change face when clothes change. DO NOT change body when clothes change. DO NOT let pixels transform the person's identity. DO NOT alter the other WOman's expression or movement. DO NOT change the original camera choreography. DO NOT change the timing. DO NOT replace the source pixel effect with generic magic. The FEmale character is permanently locked from the first frame to the final frame. OUTFIT CHANGES. PIXELS CHANGE. CLOTHING CHANGES. THE PERSON NEVER CHANGES.

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FishCreativeHQ retweeted

3 days ago

Perkenalan pemain baru Persib 2026/2027 Siapa nih yg bobotoh tunggu"?? created using @FishCreativeHQ

994

FishCreativeHQ retweeted

4 days ago

Julian Alvarez want to play for FC Barcelona but looks what did Atletico did to him LMAO Created using @FishCreativeHQ Prompt + Workflow ⏬⏬

FishCreativeHQ retweeted

Jessica Collins

@AIwithJessica

5 days ago

Sent a web to steal my face. It came back with 3 wrong women and a pigeon before it got the memo. Which one should've stayed? 👇 Made with GPT Image 2 + Seedance 2.5 @FishCreativeHQ

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FishCreativeHQ retweeted

Aaliya

@AIwithAliya

4 days ago

What a ride! Made by using GPT Image 2 + Seedance 2.0 on @FishCreativeHQ Prompt reference_handling: "Image generation strictly for driver facial and wardrobe styling reference only — calm, composed features silver wristwatch on left wrist Image strictly for sports car styling and cabin reference only — low, wide Italian wedge-shaped body + bright yellow paint + strongly geometric body lines + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin (driver seat on left) + across this sequence the driver-side window (left side of car) is rolled down only for the cockpit reveal shot, all other windows remain as-is throughout. Image strictly for spire architectural geometry, Dubai downtown skyline, and warm hazy midday atmosphere reference only — tapered glass-and-steel spire that widens progressively toward the base + dense glass high-rise skyline below + wide multi-lane boulevard. Do not reproduce any specific camera angle, composition, or caption elements from the reference images" style: "REAL AERIAL + AUTOMOTIVE CINEMATOGRAPHY PLATE — not CGI rendering, not game-engine rendering, not an animated/illustrated look." visual_feel: "Strong overhead midday light + warm hazy atmosphere softening the horizon. Color strictly natural and true-to-life — not oversaturated, not faded, not washed out. Continuous soft haze and atmospheric layering from spire tip down to street level. Every camera move, whether aerial or ground-tracking, strictly gimbal-level smooth — absolutely no handheld feel, no shake, no roll or tilt, even during the FPV-paced dive segment or the accelerating side-pass segments. 16:9 frame + no stylized film-grain treatment, aiming for genuine cinematography texture across every shot" duration: "30 seconds (8-shot sequence)" aspect_ratio: "16:9" character_modeling: driver_suited_woman: base: " appearance and wardrobe strictly per Image generation reference. Present in the car throughout the sequence, but the face is strictly clearly visible only during the 0:20–0:21 cockpit reveal shot — in every other shot the face is strictly not shown or not resolvable, whether by camera position, angle, or framing" wardrobe: silver wristwatch on left wrist . complete, with no wrinkling, misalignment, or missing pieces throughout" presence: "In shots where the driver is not the subject (0:01–0:19, 0:22–0:30), the driver strictly remains seated in the left-side driving position, present but strictly not resolved facially due to camera side, distance, or angle. During the 0:20–0:21 cockpit reveal shot only, the face and posture are strictly fully clear — visibility achieved via a right-side cockpit camera position looking across the cabin, with natural light and open sightline entering through the already-lowered driver-side window (left side of car) forming an angled depth-of-view channel — strictly NOT via looking directly through a window immediately adjacent to the camera" sports_car_yellow: identity: "Low, wide Italian wedge-shaped supercar + bright yellow paint + strongly geometric body + hexagonal front intake + Y-shaped LED headlights + gloss black multi-spoke wheels + black leather cabin with orange stitching + left-hand-drive cabin, driver seat on left — appearance strictly per image2 reference. Strictly only this one car appears across all 8 shots + doors strictly closed throughout + strictly only the driver-side window (left side of car) is rolled down, and only for the 0:20–0:21 cockpit shot + all other windows strictly remain closed/unchanged throughout + left-hand-drive position strictly remains on the left side of the car in every shot — not mirrored, not flipped, regardless of which side the camera is on" physics: "In every shot showing the car in motion, tires strictly show real, visible load deformation on turns + suspension strictly compresses and rebounds continuously with road surface undulation + body strictly shows slight roll and pitch matching cornering or acceleration — strictly not a rigid-glide, zero-deformation model feel. The car strictly stays lane-centered along the boulevard's true path — strictly no crossing lines, no drifting, no hugging the curb" environment_spire_and_skyline: setting_lock: "Tapered glass-and-steel spire structure — body progressively widens toward the base + spire tip is the sequence's starting point + below is Dubai downtown's dense glass high-rise skyline and wide multi-lane boulevard + warm hazy midday light, architectural geometry, skyline, and atmosphere strictly per image3 reference. Shot 1 (0:01–0:12) strictly covers the spire exterior and the high-altitude-to-street transition. Shots 2–8 (0:12–0:30) strictly take place entirely at street level, on or beside the boulevard, with the skyline visible as background context only" cinematic_storyboard: shot_1_spire_descent_0_01_0_12: camera: "Continuous aerial dive — the same FPV-paced descent arc as the master establishing move: 0:01–0:02 camera approaches and briefly hovers directly above the spire tip, gimbal strictly steady, no roll or tilt. 0:02–0:12 camera descends along one continuous curved arc, vertical speed component smoothly decaying while horizontal speed component smoothly increasing, no perceptible docking point or speed jump. As the arc resolves near street level, the camera settles into a position that spotlights the yellow car on the right side of frame — car held in the right third of the composition as the shot closes. Lens strictly 35–50mm cine prime throughout, no zoom, no digital zoom, straight architectural lines keep true perspective." action: "Spire tip and city grid fill the frame at the open, then dissolve into recognizable streets and blocks as the dive continues. The yellow car appears as a small point mid-descent and grows continuously larger, coming to rest spotlighted on the right side of frame by 0:12, driving forward along the boulevard, wheels rotating forward, no reverse." lighting: "Strong overhead midday light at the spire tip with long shadows; as the descent continues, glass-facade and ground reflections shift continuously and smoothly with the changing angle — no abrupt lens-flare flicker." vfx: "Ground detail and color progressively sharpen through the descent, no sudden clarity jump. Ground shadows strictly limited to the car's own cast shadow — no operator or camera-rig shadow anywhere in frame." sfx: "High-altitude wind roar at the open, fading continuously into rising engine sound and city ambience as the car comes into view. No music, no voiceover, no captions." shot_2_side_pass_0_12_0_15: camera: "Hard cut to a static lateral profile position — camera holds a fixed side-view framing of the car, 35–50mm cine prime, gimbal-locked, no handheld sway. As the car accelerates, the camera lets it pull ahead and overtake past the camera's position, exiting frame screen-right." action: "Car holds briefly in profile, then accelerates hard — visible squat of the rear suspension under acceleration, tires gripping without slip, body pitching slightly rearward under load — before overtaking and leaving frame past the camera." lighting: "Even natural daylight, sun still overhead-midday, car's yellow paint reading true and saturated against the boulevard背景, no flat frontal wash." vfx: "Real suspension compression and rebound as the car surges forward. No motion blur artifacts beyond natural shutter response; no CG float." sfx: "Engine note rises sharply with the acceleration, a clean Doppler pass as the car overtakes the camera position; no music." shot_3_center_mirror_0_15_0_17: camera: "Hard cut to an interior point-of-view through the car's center rear-view mirror — camera framed as if looking through the mirror glass from just behind/above the driver's eyeline, mirror surface visibly framing the receding view." action: "Through the mirror, the boulevard and the Dubai skyline recede behind the car as it continues forward at speed; slight natural mirror-glass vignette at the frame edge." lighting: "Cabin interior in soft ambient light, mirror glass reflecting the bright exterior daylight and skyline without glare washing out the reflected image." vfx: "Mirror reflection stays optically clean and stable — no double image, no warping; road and skyline motion in the reflection reads as physically continuous with forward travel." sfx: "Muffled cabin-interior tone to engine and wind noise (heard as if from inside the car); no music, no dialogue." shot_4_front_view_0_18_0_19: camera: "Hard cut to a nose-on front view of the car — camera positioned directly ahead on the boulevard, framing the grille, headlights, and hood centered in frame, lens 35–50mm cine prime, static or minimal push, gimbal-steady." action: "Car approaches head-on at a steady, controlled speed, Y-shaped LED headlights and hexagonal intake clearly readable, wheels visibly rotating forward." lighting: "Overhead midday sun catches the hood and windshield with clean natural highlights, no artificial front-fill look." vfx: "Subtle heat-haze shimmer off the hot asphalt ahead of the car for realism; no CG gloss on the paint." sfx: "Engine sound growing louder as the car closes distance toward camera; no music." shot_5_cockpit_reveal_0_20_0_21: camera: "Hard cut to a right-side cockpit angle — camera positioned to the right-front of the car, sightline crossing through the windshield and, aided by the already-lowered driver-side (left) window, resolving the driver clearly inside the cabin. This is the sequence's only driver-reveal shot." action: "Driver's face and posture are fully visible — one hand resting lightly on the wheel, eyes on the road ahead, expression calm and composed, natural unstiff posture. Car maintains the same forward direction and steady speed with no lens or vehicle behavior change during the shot." lighting: "Even natural daylight, light falling cleanly across the yellow paint, windshield, and driver's face; windshield reflection kept light enough not to obscure visibility." vfx: "Windshield glass stays transparent and reflection-light, no glare occlusion of the driver." sfx: "Steady engine hum plus faint city ambience; strictly no dramatic sound swell or music entering at the reveal moment." shot_6_straight_road_rear_3_4_0_22_0_24: camera: "Hard cut to a rear-bumper 3/4 angle — camera positioned low and behind, off to one side, framing the car driving away down a straight stretch of boulevard, lens 35–50mm cine prime, gimbal-smooth tracking that holds pace with the car." action: "Car drives straight down the boulevard at a steady cruising speed, lane-centered, taillights and rear three-quarter bodywork clearly visible, wheels rotating forward, no drift or lane departure." lighting: "Overhead midday sun, road surface and rear bodywork evenly lit, skyline visible in soft haze in the background." vfx: "Light heat-shimmer off the straight road surface; ground shadow strictly limited to the car's own cast shadow." sfx: "Steady, sustained engine tone at cruising speed plus ambient city sound; no music." shot_7_side_pass_0_25_0_28: camera: "Hard cut back to a static lateral profile position, mirroring shot 2's setup — camera holds the side view of the car, gimbal-locked, no handheld sway." action: "Car holds briefly in profile again, then accelerates a second time and overtakes past the camera, exiting frame — same physical behavior as the first side-pass (visible suspension squat, tire grip, body pitch)." lighting: "Consistent overhead midday daylight, same natural exposure as shot 2 for continuity." vfx: "Real suspension compression and rebound under acceleration; clean natural motion, no CG float." sfx: "Engine note rising sharply into the pass, clean Doppler effect as the car overtakes camera; no music." shot_8_static_3_4_close_0_29_0_30: camera: "Hard cut to a static, locked-off 3/4 angle — camera fixed in position, no movement, gimbal-perfect stillness, framing a 3/4 view of the boulevard as the car enters and exits frame to close the sequence." action: "Car drives through the static frame at a steady speed and exits, completing the sequence; wheels rotating forward, no reverse, no lingering hold after exit." lighting: "Same consistent overhead midday daylight and natural color grade as the rest of the sequence, no shift in exposure for the closing shot." vfx: "Ground shadow strictly limited to the car's own cast shadow; no operator or rig shadow in frame." sfx: "Engine sound passing through and fading as the car exits frame; no music, no voiceover, no captions at any point in the closing shot." production_notes: multi_shot_cut_lock: "This sequence is strictly 8 distinct shots joined by hard cuts at the following points: 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no smooth transitions, no cross-dissolves, no whip-pans between shots, no morphing between camera setups. Each shot is a clean cut to a new fixed or moving camera setup as specified; only shot 1 (0:01–0:12) is itself one continuous unbroken aerial move. Across every cut, the following must remain continuous: the car's identity and paint color, the boulevard geography and skyline, the direction of travel, the lighting direction and quality, and the absence of music/dialogue/captions." gimbal_stabilization_lock: "Every shot, aerial or ground-based, strictly holds gimbal-level smoothness — absolutely no handheld shake, no roll, no tilt, no high-frequency jitter, in any of the 8 shots, including the accelerating side-pass shots." optics_lock: "Every ground/tracking shot strictly uses a 35–50mm cinema prime feel (Sony Cine prime lens character), unchanged within each shot — strictly no zoom in, no zoom out, no digital zoom of any kind in any shot. Straight lines of buildings and roads strictly retain true perspective — strictly no wide-angle distortion, no fisheye curvature." forward_motion_lock: "In every shot, the car strictly drives forward — nose pointed in the direction of travel except where explicitly framed nose-on toward camera (shot 4), and never reversing. Wheels strictly rotate continuously in the direction of travel, reverse rotation strictly forbidden in any shot." vehicle_structural_identity_lock: "Strictly only this one car appears across all 8 shots — a second car of the same or different model is strictly forbidden. Doors strictly remain closed in every shot. Left-hand-drive layout strictly remains unchanged across all 8 shots — driver's seat strictly on the left side of the car in every shot, never mirrored or flipped regardless of camera side. The driver-side (left) window is strictly rolled down only during shot 5 (cockpit reveal, 0:20–0:21); in every other shot all windows strictly remain closed/unchanged." driver_appearance_window_lock: "The driver's face is strictly clearly visible only during shot 5 (0:20–0:21) — in shots 1–4 and 6–8 the face is strictly not resolved, whether due to distance, angle, motion, or framing. During shot 5, visibility is strictly achieved via the right-side cockpit camera angle through the windshield, aided by the already-lowered driver-side window — strictly NOT via a window directly facing the camera." no_operator_shadow_lock: "In every shot, the ground strictly shows only the car's own cast shadow — strictly no human-shaped shadow, camera-operator silhouette, photographer's figure, or rig shadow cast anywhere in any of the 8 shots. The aerial shot (shot 1) is strictly pure drone photography with no physical rig or ground-crew trace; the ground shots (2–8) are strictly framed with no visible operator, crew, or equipment in frame." audio_lock: "Sound throughout the sequence is strictly authentic diegetic sound only — wind, engine, and city ambience, shifting naturally shot to shot — strictly no background music or score of any kind, including any hidden musical layer, in any of the 8 shots + strictly no voiceover or dialogue of any kind + strictly no captions or on-screen text of any kind at any point." critical_constraint: "8 hard-cut shots across 30 seconds, cut points strictly at 0:12, 0:15, 0:18, 0:20, 0:22, 0:25, 0:29 — strictly no dissolves or blended transitions. Shot 1 is one continuous uncut aerial descent from the spire tip to street level, ending with the car spotlighted screen-right. Shots 2 and 7 are matching static side-profile setups where the car accelerates and passes the camera. Shot 5 is the sequence's only driver-face reveal, via the right-side cockpit angle through the windshield with the driver-side window down — strictly not visible in any other shot. The car is strictly the same single yellow LHD supercar throughout, doors closed except for the driver-side window during shot 5, always driving forward, wheels never reversing. All camera work is strictly gimbal-smooth with a 35–50mm cine-prime feel, no zoom, no distortion, no handheld shake in any shot. Ground shadows throughout strictly show only the car's own shadow, no operator or rig trace. Audio is strictly diegetic only — no music, no voiceover, no captions, throughout the entire 30 seconds." avoid: "dissolves, cross-fades, morphs, or whip-pans between shots — cuts must be hard cuts only, any shot other than shot 5 showing the driver's face clearly, the driver-side window rolled down in any shot other than shot 5, the passenger-side or any other window rolled down at any point, a second car appearing in any shot, car doors opening in any shot, the car reversing or wheels rotating backward in any shot, mirrored or flipped left-hand-drive layout, driver's seat appearing on the right side of the car, human-shaped shadow, camera-operator silhouette, or rig shadow in any of the 8 shots, camera shake, handheld feel, roll, tilt, or high-frequency jitter in any shot, zoom in, zoom out, digital zoom, wide-angle distortion, fisheye distortion, or curved building/road lines in any shot, smooth continuous single-take treatment of the whole 30 seconds (the sequence is strictly multi-shot with hard cuts, not one unbroken take beyond shot 1), background music, score, melody, hidden musical layer, voiceover, dialogue, narration, captions, or on-screen text at any point, CGI-rendered look, game-engine feel, plasticky car-paint gloss, static hovering with no sense of gravity" animation_style: "Shot 1 plays out as one continuous real-time aerial move; shots 2–8 are each a distinct, clean hard-cut setup, every shot internally in real time with no speed ramping — the sense of pace across the sequence comes from the editing rhythm of the cuts, not from slow motion or time manipulation within any single shot"

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FishCreativeHQ retweeted

Sophie Ai

@ThissSophie

5 days ago

Wanted to try something a little different and make a proper nature documentary style video. Went with a snowy Japanese macaque family and tried to capture that quiet Planet Earth feel using Seedance 2.5. Made on @FishCreativeHQ

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FishCreativeHQ retweeted

Fish Creative @FishCreativeHQ

5 days ago

I wish it was that easy to move into the next country within 2-3 seconds. Made by using Seedream pro 5.0 + Seedance 2.5 on @FishCreativeHQ Prompt and Breakdown 👇

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FishCreativeHQ retweeted

Caden Flux

@Caden_Flux

6 days ago

A tiny woolen world, a cozy cup of tea, and the cutest little bunny ever. 🐰🧶☕❄️ Made with GPT Image 2 and Seedance 2.5 on @FishCreativeHQ CREATE A 30-SECOND CINEMATIC VIDEO USING SEEDANCE 2.5. CORE STYLE — ABSOLUTE PRIORITY Create a cute, cozy handcrafted needle-felted wool stop-motion animation that looks like a real miniature handmade film photographed with a macro cinema camera. Everything must appear physically handcrafted from needle-felted wool, knitted yarn, miniature wood, fabric, clay and paper. The animation should have the charm of premium felted miniature stop-motion films: Visible fuzzy wool fibers Slight handmade imperfections Tiny tactile textures Soft miniature fabric Real-looking handcrafted props Subtle stop-motion frame-to-frame movement Tiny natural pose changes Slight charming stop-motion jitter Deliberate, carefully posed movements Macro cinematography Shallow depth of field Soft cinematic bokeh Warm practical lighting Tiny realistic shadows DO NOT make this look like smooth CGI, plastic 3D animation, digital furry animation, or a generic children's cartoon. It must feel like someone physically built this miniature world and animated it frame by frame. CHARACTER LOCK — EXTREMELY IMPORTANT Use the provided BUNNY CHARACTER REFERENCE SHEET as the absolute visual source of truth. The Bunny must remain 100% visually consistent throughout the entire video. Do NOT redesign, reinterpret, regenerate, age, stylize, or modify the Bunny. Preserve exactly: Face Head shape Body proportions Cream wool color Ear shape and size Pink inner ears Large dark brown eyes Tiny embroidered nose Rosy cheeks Fluffy tail Sage-green knitted cardigan Cream dress Dusty-pink knitted socks All clothing details Handmade needle-felted texture NO CHARACTER DRIFT. NO FACE DRIFT. NO OUTFIT CHANGES. NO COLOR CHANGES. NO BODY-PROPORTION CHANGES. The Bunny must look like the same physical handmade wool puppet in every shot. STORY — “A LITTLE CUP OF WARMTH” 0–4 SEC — SNOWY MORNING Wide cinematic establishing shot of the tiny handcrafted cottage sitting in a snowy miniature pine forest. Soft snowflakes fall slowly. Warm golden light glows through the tiny windows. Smoke gently curls from the chimney. Camera slowly pushes toward the cottage. Everything is visibly made from wool, felt and miniature wood. 4–8 SEC — BUNNY WAKES UP Cut inside the cozy bedroom. The locked Bunny is curled beneath a chunky knitted wool blanket. Her ears slowly pop out. She opens her big sleepy eyes. She gives a tiny adorable yawn and stretches her little paws. Her wool fibers subtly move with her stop-motion movement. Make this moment extremely cute and expressive. 8–13 SEC — MORNING TEA Bunny walks through the tiny cottage toward the kitchen with tiny waddling stop-motion steps. She carefully picks up a miniature ceramic teacup. She pours warm tea from a tiny kettle. A delicate curl of steam rises from the cup. She looks at it with a tiny satisfied smile. Camera moves into a close macro shot of her face, paws and teacup. 13–18 SEC — CINNAMON BUN Bunny notices a freshly baked miniature cinnamon bun sitting on a tiny wooden plate. Her eyes become excited. She gently picks it up with both paws. She takes one tiny bite. Pause. Her eyes widen with happiness. Give her an adorable little satisfied smile. Add subtle tactile movement to the wool and knitted clothing. 18–24 SEC — COZY WINDOW Bunny carries her tea and cinnamon bun to the little window nook. She climbs onto a miniature wooden bench. She wraps herself in a soft knitted blanket. Outside, snow gently falls over the tiny pine trees. Bunny watches the snowfall while holding her warm cup. Warm golden interior light contrasts with cool blue winter light outside. Camera slowly pushes closer. 24–30 SEC — FINAL COZY MOMENT Bunny settles beside the glowing fireplace. She takes one final tiny sip of tea. She hugs her cup with both paws. Her ears relax. She gives a peaceful sleepy smile. The fireplace flickers softly behind her. Camera slowly pulls backward, revealing the entire tiny cozy cottage interior. End on the warm glowing miniature room while snow continues falling outside the window. ANIMATION DIRECTION Movement must feel like premium handcrafted stop-motion, not standard AI animation. Use: Tiny incremental movements Slight frame-by-frame imperfections Carefully posed limbs Subtle wool compression when Bunny sits Tiny ear movements Gentle head tilts Small paw gestures Slight bouncing while walking Natural stop-motion weight Physical interaction with props The Bunny should feel like a real tiny wool puppet being physically animated by hand. Keep movements charming and slightly imperfect. Do NOT use fluid rubbery animation. CINEMATOGRAPHY Use cinematic miniature photography throughout: Macro close-ups of Bunny's face, paws, tea and cinnamon bun. Low-angle miniature shots that make the cottage feel magical. Slow camera pushes and gentle dolly movements. Shallow depth of field with beautiful miniature-scale bokeh. Keep Bunny sharply readable while allowing the background to softly fall out of focus. SOUND & ATMOSPHERE Cute cozy instrumental music with soft bells and gentle acoustic elements. Layer in subtle miniature-world sounds: Soft footsteps Fireplace crackling Kettle pouring Tiny ceramic cup sounds Gentle winter wind Soft snow ambience Small fabric and wool movements No dialogue. The emotional feeling should be: warm + adorable + peaceful + wholesome + magical + cozy. FINAL QUALITY TARGET The finished video should look like a high-end handcrafted needle-felted miniature stop-motion short film, photographed with a professional macro cinema camera. SEEDANCE 2.5. 30 SECONDS. 16:9 WIDESCREEN. CINEMATIC MACRO PHOTOGRAPHY. HANDCRAFTED NEEDLE-FELTED WOOL. REAL MINIATURE SET AESTHETIC. ADORABLE STOP-MOTION ANIMATION. STRICT CHARACTER CONSISTENCY.

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6 days ago

Try it now: https://t.co/rosqnkkWKS

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Fish Creative @FishCreativeHQ

6 days ago

That creative rabbit hole you keep circling? Seedance 2.5 just made it a lot deeper. Live now on Fish Creative. Your idea → 30 seconds of video, with audio. Jump 🐇

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6 days ago

Alasan Ramon Tanque di loan sama Persib Tikosewat wae anjrittt wkwkwkwkwk created with @FishCreativeHQ Yang mau credit gratis + Prompt & Workflow buat video ini bisa cek komen yaa 👇👇

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7 days ago

The moment Rodri Signed the contract for Barca Wait for the plot twist in the end LMAO created using @FishCreativeHQ You can check in the comment down below for some free credits in Fish Creative website!!

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Maria

@thisismariaa25

8 days ago

I wanted a luxury perfume commercial. Seedance 2.5 decided the entire food chain needed to be involved. Made on @FishCreativeHQ

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Mira Sterling

@Chaemate_

8 days ago

What if getting ready wasn't a routine — but a ritual? ✨ Made with Seedance 2.5 on @FishCreativeHQ Sunglasses on. Chain fastened. Bag in hand. Some collections don't just complete a look — they complete you. Which piece would you reach for first? Try it yourself👉 https://t.co/4eqi2vJ8xK

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8 days ago

How cinematic can pure motorcycle speed actually become on-screen? GPT Image 2 + Seedance 2.0 on @FishCreativeHQ prompt Create an explosive, high-speed motorcycle action sequence in 16:9, 24fps, exactly 16 distinct cuts, total runtime ≈ 16–17 seconds. A lone rider in a light green helmet and dark riding gear pilots a babypink sportbike along a narrow, winding paved mountain road that cuts through rolling green hills under a brilliant sunny sky with scattered white clouds and distant blue mountain ranges and water visible on the horizon. Preserve the exact bike color, rider silhouette, road markings, green landscape, fencing and lighting throughout — never redesign them. This film is 90 % pure kinetic camera motion and 10 % environmental beauty: aggressive low-to-high tracking shots, continuous forward motion with heavy speed blur, whip pans, snap zooms, sun flares and impact shakes. No text, no graphics, no logos — pure cinematic speed. ### CUT LIST CUT 01 | 0.00–1.00s Dynamic low-side tracking shot: red motorcycle accelerates away from a small parking area onto the winding asphalt road; lush green grass and fence posts streak past with heavy motion blur; bright sun flares at the top of the frame. **CUT 02 | 1.00–2.00s** Camera rises and locks behind the rider as the bike climbs the first gentle incline; green hills roll on both sides, a lone tree appears ahead, distant mountains and water visible on the right. **CUT 03 | 2.00–3.00s** Tight rear tracking; rider leans into a smooth left curve; the road surface and white dashed lines blur heavily; sun remains high and intense. **CUT 04 | 3.00–4.00s** Bike powers up a steeper section of road; camera stays low and centered, grass and fence posts racing past on both sides; distant valley opens on the right. **CUT 05 | 4.00–5.00s** High-speed straight section; camera drops even lower, almost road-level, capturing the red bike centered against the climbing green hillside and bright blue sky. **CUT 06 | 5.00–6.00s** Rider continues the climb; camera rises slightly and banks with the road; lush green slopes fill the left and right frame edges with strong motion blur. **CUT 07 | 6.00–7.00s** Bike approaches a crest; camera pulls back a fraction to reveal more of the endless green hills and the road stretching ahead under the bright sun. **CUT 08 | 7.00–8.00s** Rider leans into the next curve; camera swings wide then snaps back, capturing the red bike against the steep green embankment and metal guardrail. **CUT 09 | 8.00–9.00s** Tight following shot as the motorcycle accelerates past the guardrail; heavy speed blur on the grass and road surface; sun flare intensifies. **CUT 10 | 9.00–10.00s** Camera tilts upward dramatically, almost looking straight up the road; the red bike becomes smaller against the vast blue sky and white clouds while still racing forward. **CUT 11 | 10.00–11.00s** Sweeping aerial-style arc as the bike enters a wide left-hand hairpin; camera orbits slightly, revealing the full curve of the road, green slopes and distant mountains. **CUT 12 | 11.00–12.00s** High-angle tracking shot looking down on the red motorcycle as it carves the long sweeping curve; the road and guardrail form a perfect arc against the green hillside. **CUT 13 | 12.00–13.00s** Camera pulls higher still, showing the bike as a small red shape on the winding road that snakes across the vast green landscape toward distant valleys and peaks. **CUT 14 | 13.00–14.00s** Rider continues through the open hillside section; camera descends slightly and tracks from a higher three-quarter rear angle, capturing the bike, road and rolling green terrain. **CUT 15 | 14.00–15.00s** Wide high-angle shot of the motorcycle navigating the next gentle S-curve; a second distant vehicle appears briefly on the road ahead; lush green fields and scattered trees fill the frame. **CUT 16 | 15.00–16.65s Final high-speed tracking shot as the red bike continues along the open mountain road; camera gradually rises and the frame fills with bright green hills, blue sky and soft sun flare; the sequence ends on a sense of endless forward motion. ### Editing & Sound Extremely aggressive rhythm — continuous forward tracking with occasional whip pans, snap zooms and speed ramps, heavy motion blur on every surface, strong sun flares and subtle impact shakes on every crest or curve. No text, no graphics, no slow-motion. BGM / Audio: electronic / indie-pop beat with driving drums, bright synths and rising energy that matches the speed of the bike. Engine roar, wind whooshes and tire sound on asphalt are locked to the picture as rhythmic elements. Peak energy in the middle curves and end with a bright, open sonic release. Premium AAA quality, photorealistic cinematic rendering, pure speed and freedom aesthetic, consistent red sportbike and rider design, exactly 16 cuts.

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Caden Flux

@Caden_Flux

8 days ago

Tiny chef, huge ambitions 🐸👨‍🍳 Making gourmet magic, one tiny dish at a time. Created with Seedance 2.5 on @FishCreativeHQ PROMPT: The Tiny Frog Michelin Chef — 30-Second Animated Short Create a 30-second premium cinematic 3D animated short film about a tiny frog who takes cooking extremely seriously. The animation should feel like a high-end theatrical 3D animated feature film: charming, whimsical, expressive, funny, visually rich, and cinematic. MAIN CHARACTER A tiny adorable emerald-green frog with smooth slightly textured skin, huge expressive golden-brown eyes, a tiny rounded mouth, soft rounded cheeks, and little webbed feet. He wears an oversized pristine white chef jacket, a tiny black neckerchief, and a miniature white chef hat that is slightly too large for him. Despite being tiny and adorable, he behaves like an extremely serious professional chef. His personality is dramatic, perfectionist, ambitious, passionate, and hilariously serious about food. Keep the exact same frog appearance, outfit, proportions, face, colors, and animation style throughout the entire video. 0–5 SEC — THE RESTAURANT Open on a beautiful moonlit pond transformed into a tiny luxury restaurant. Fireflies glow like miniature chandeliers. Lily pads become elegant dining tables. Tiny candles illuminate the water. The frog chef stands inside his miniature outdoor kitchen. He adjusts his chef hat with complete seriousness. He looks directly at the dish he is about to prepare. Dramatic cinematic push-in toward his determined face. 5–10 SEC — THE PREPARATION Rapid cinematic cooking montage. The tiny frog dramatically chops miniature vegetables. He slices mushrooms with incredible precision. He tosses herbs into a tiny copper pan. Butter melts. Steam rises. He tastes the sauce with a tiny spoon. His eyes narrow. He adds exactly one more tiny pinch of seasoning. He tastes it again. His expression finally shows approval. Use exaggerated but believable animated physical comedy. 10–17 SEC — THE MASTERPIECE The frog chef begins assembling his signature dish. He carefully places tiny colorful vegetables onto a miniature white porcelain plate. He uses tweezers to position a single delicate herb. He steps back. Something looks wrong. His eyes widen. He rushes back to the plate. He moves one tiny vegetable approximately one millimeter. He steps back again. Perfect. His face lights up with pride. 17–22 SEC — THE BIG PRESENTATION The frog dramatically carries the tiny plate across a lily-pad dining area. Several adorable woodland animals sit at tiny tables watching him. A rabbit. A hedgehog. A duckling. A small turtle. They all stare at the dish with exaggerated anticipation. The frog carefully places the plate in the center. Everyone leans forward. 22–27 SEC — THE TASTE The animals take one bite. Silence. Their eyes suddenly become enormous. The rabbit gasps. The hedgehog's ears shoot upward. The duckling freezes in amazement. The turtle slowly raises both tiny flippers. Then everyone starts happily celebrating. The frog chef stands completely still, trying desperately to maintain his serious professional expression. A tiny smile slowly appears. 27–30 SEC — THE PAYOFF Suddenly, the frog's miniature restaurant becomes completely chaotic. The animals cheer. Fireflies swirl around the restaurant like sparkling lights. The frog chef jumps onto a tiny wooden crate and proudly raises his cooking spoon like a trophy. Camera pulls back to reveal the entire magical pond restaurant glowing under the moonlight. Final shot: The tiny frog chef stands proudly beneath his oversized chef hat. Adorable. Dramatic. Completely ridiculous. VISUAL & ANIMATION STYLE Premium cinematic 3D animated feature-film quality. Extremely expressive character animation. Cute stylized proportions. Detailed frog skin. Soft natural reflections in the eyes. Realistic miniature food textures. Tiny believable kitchen props. Beautiful moonlit pond environment. Warm candlelight contrasting with cool nighttime atmosphere. Detailed lily pads, flowers, fireflies, water reflections, and vegetation. Playful cartoon physics. Subtle squash-and-stretch. Excellent comedic timing. Smooth cinematic camera movements. Dynamic food close-ups. Macro photography feeling for the tiny world. Shallow depth of field. Soft volumetric lighting. Natural motion blur. Polished theatrical rendering. The entire sequence should feel like one continuous animated movie scene, with consistent character design, environment, lighting, proportions, and animation quality. 16:9 LANDSCAPE — 4K — premium cinematic 3D animation. No text, no subtitles, no logos, no watermark.

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