Seedance 2.5 Wounded Women Walk Ruined Street Cinematic Realistic Prompt

Seedance 2.5 prompt👇 | 20s | Seven-shot continuous narrative | 16:9 [Task and Reference Binding] Create a realistic live-action cinematic post-apocalyptic city sequence, 20 seconds total, real-time, seven hard-cut shots. Story: after a battle, Alin stands wounded; Lisa runs in. Alin refuses help, steps forward and drops to one knee, forces herself back up, loses strength again, is caught by Lisa, finally accepts support, and they walk away together. Both remain conscious throughout. Bind references by upload order: Image 1 = Alin identity, face, platinum long hair with blunt bangs, existing scars, torn off-white sleeveless top, jeans, brown boots. Image 2 = Lisa identity, face, short blonde hair, orange-brown leather jacket with pale fur collar, inner layers and waist leather structure, short skirt, ankle boots. Image 3 = the only location: wide ruined city street, damaged towers, distant skybridge, abandoned cars, cracked road, daylight relation. Image 4 = zombie body-shape and old-clothing library, adapted into many fallen bodies and a few distant walkers. Image 5 = crow appearance: black feathers, beak, claws, dark red eyes. Multiple views in the character sheets all represent one Alin and one Lisa only. Use the references to extract character and environment; the film remains full cinematic frames, never split reference layouts. Image 4 zombies are varied in pose and clothing combinations across the street. Image 5 constrains crow look only; actual scale follows real-world proportions below. Keep both women adult, with the same facial proportions, scar placement, and costume structure as the references. Dialogue is limited to the two English lines below. [Locked Space, Distance, and Staging] The entire scene takes place on the same stretch of street from Image 3. Three fixed landmarks: the burned sedan near camera is Lisa’s original cover; the pale abandoned bus in mid-street is the distance marker in front of the horde; the far skybridge fixes street depth. Landmarks never move; only camera position changes. At the opening, Alin stands in front of the burned sedan in the battle zone. A narrow but continuous walkable gap, about two people wide, runs through the bodies toward the escape route. Fallen zombies lie on both sides of the gap, behind the characters, and in foreground. Lisa begins about four meters away, running from the sedan cover to Alin through the visible gap, weaving around bodies. All “left” and “right” refer to each character’s anatomical left/right. Lisa reaches Alin’s left side and stays there for protection, catching, and support. Alin collapses toward her own left. Lisa bends on that side to take weight: Lisa’s right arm wraps Alin’s left waist/back; once stable, Lisa’s left hand helps place Alin’s left upper arm over Lisa’s right shoulder. Alin’s left hand finally grips the front of Lisa’s right shoulder jacket. Every hand position must be reached through visible continuous action. The main camera stays front-left of the pair: Lisa is closer to camera, Alin farther. In two-shot close framing, Alin stays screen left and Lisa screen right, faces slightly offset so both remain readable. Camera always stays on the same side of their action axis and never flips behind them. The escape gap leads toward screen left, toward the near-side street corner established in the wide shot, away from the distant horde. In the final shot they move in that direction without swapping sides. End still in the ruined street; the harbor route belongs to the next chapter. The distant horde begins about 70 meters away and advances only a few meters within 20 seconds, always staying behind the bus in the far street. Distance is reinforced through the clear gap, abandoned cars, small silhouettes, lower contrast, and dust haze. Foreground characters remain sharp; the far horde may be slightly soft but must still read as a moving group. [Battle Aftermath Scale and Real Proportions] From foreground to midground, show dozens of fallen zombies, implying roughly 40–60 total, with only part visible through framing and occlusion. Bodies are spread across crosswalks, between cars, and beside rubble; some overlap in pairs or trios. Human proportions remain realistic. Poses include face-up, side-lying, prone, or slumped against wrecked cars, with natural limb bends and clothing folds caused by body weight. Density extends from foreground into midground, forming one continuous battle aftermath while always preserving the escape path. Fallen bodies do not shift position between shots. Far away, dozens of walking zombies form an uneven, layered formation, partly blocked by the bus and wrecked cars. Their gait height, pauses, and weight shifts differ, but all move slowly down the far street. Crows must stay true to common raven scale: about 45 cm beak-to-tail, 25 cm standing height, 90 cm wingspan. Do not display numbers on screen; use them only as scale truth. On the same ground plane as the characters, a standing crow’s head stays below an adult knee; its body is clearly smaller than a human chest; wingspan is clearly less than adult height. Perspective scaling must remain believable near and far. Scatter about 12–18 crows across the scene, mostly feeding on the ground. In any one shot only a few birds move noticeably. They stand on zombie shoulders, backs, chest sides, or clothing edges, peck briefly, then lift their heads to look around; a few hop between nearby bodies or make short low flights. Beaks may carry slight dark smears; red eyes read only as natural reflections. They remain background scavengers and never attack the two leads. [Overall Tone, Palette, and Light] Extract the gray-brown daylight, gray-cyan shadow, and low-saturation ruined-city materials from Image 3. Grade the film in a mild bleach-bypass direction: medium-high contrast, restrained saturation, dense blacks with retained texture, soft highlight rolloff, fine stable grain. Daylight exposure must keep faces and action readable. Approximate palette guidance only, never shown as swatches or text: Gray-brown dust #9D907B for road, dust, debris, and lit concrete. Gray-cyan shadow #53615F for buildings, car shadows, and distance. Dirty off-white #D1C8B7 for Alin’s top, Lisa’s fur collar, and bright sky. Charcoal black #202625 for crow feathers, vehicle cavities, and deep dark surfaces. Aged warm leather #A7663E for Lisa’s jacket as the controlled warm accent. Daylight white balance feels around 5600K, filtered through the same cloud cover, with one consistent sun direction. The fixed world light source is the bright sky area at upper right in the opening composition; shot changes may alter facial incidence naturally with camera angle, but never relight the sun. Sky and pavement bounce provide soft fill on faces; eyes keep small natural wet highlights. Skin keeps slight living color. Alin’s bruising and lip wound stay at the reference positions. Pale hair and pale clothing must not blow out. Lisa’s jacket must not turn bright red. Crow feathers keep cool black separation; dark red eyes never glow. Intimate close shots keep the same white balance, black levels, light direction, and grain; no warm-gold romantic filter and no beauty diffusion. [Performance and Fixed Voices] Alin: She holds herself upright with lifted chin, tightened mouth corners, and tense shoulders/back, but her breathing is fast and shallow and she hesitates to shift weight off the support leg. She looks at Lisa’s offered help, then back to the escape path. Before speaking she swallows, then stops Lisa with a short sentence. After the first collapse, she clenches her jaw, briefly shuts her eyes once, reopens them, and searches for footing. When forcing herself up, she holds half a breath; the head rises after the body. After the second failure she still tries to lift her shoulder, but strength drains out quickly. While hearing Lisa, she first glances at Lisa’s shoulder, then raises her eyes to Lisa; her response begins before Lisa finishes speaking. Her mouth softens, her exhale lengthens, she grips the jacket, and finally transfers part of her weight. Eye focus shifts naturally between Lisa and footholds; never look at camera. She still participates in walking and remains badly hurt and weak through the final frame. Alin voice: Adult female, natural English, low-mid register, slightly dry and lightly hoarse, clipped diction. Weakness is expressed through short breath support and incomplete tails, never a sudden scream or childlike pitch. Only line: Alin — “I can walk.” Lisa: As she runs in, she breathes hard, lips slightly open, eyes checking Alin’s face first, then her unstable knees/legs. When Alin blocks her hand, Lisa freezes for half a beat, presses her lips together, but stays close enough to catch. As Alin drops, Lisa immediately lowers with attention on shoulder/back and balance. When Alin stands again, Lisa looks at her feet first, then back to her face. At the catch, Lisa’s inhale interrupts, knees sink, and her feet drive into the road. Once stable, her inner brows lift slightly, eyes redden with restrained tears, and her lower lip trembles once before she controls it. She leans in close to speak, lowers her voice, and keeps the supporting hand truly bearing weight. Once she feels Alin settle onto her, her jaw softens slightly. Her gaze then moves to the exit before her head follows, and she leads the walk. No sobbing, no sudden smile. Lisa voice: Adult female, natural English, mid register, clear and flexible with slight breathiness; the breath from running is still present. Comfort is delivered more quietly with a steady line ending. Only line: Lisa — “Lean on me. I’ve got you.” Both lines are spoken only to each other by the assigned speaker. Delivery: Alin lightly presses “can” and lets “walk” close on breath. Lisa lands “Lean on me” gently, leaves a short pause, then says “I’ve got you” lower and steadier. Mouth shapes stay natural, never exaggerated syllable-by-syllable. [Seven-Shot Timeline: one continuous shared time flow] 00.0–02.5 | Shot 01: high angled wide shot, about 28mm, locked. From low-building height on the near side of the street, look down over the battle zone. Alin stands wounded in the walkable gap. Foreground to midground is filled with fallen zombies, some readable in clothing and overlap; scattered crows feed on the ground. Beyond the bus, the distant horde moves slowly. The escape path remains clear. Lisa is already running from near the wrecked sedan toward Alin’s left side. Keep Alin easy to find at a glance. End with Lisa just about to reach her. Sound: empty urban wind, sparse crow calls, and approaching footsteps. 02.5–04.0 | Shot 02: ground-level detail close shot, about 24mm, short lateral move. Camera about 25 cm above the ground, sliding about half a meter along the safe gap with Lisa’s last two steps. Foreground: a fallen zombie shoulder/back and a crow create quick parallax while Lisa’s boots step around solid ground beside bodies. End when her foot plants at Alin’s left side and their positions become adjacent. Never pass through bodies and never chase a crow head-on. Grit cracks underfoot and two wisps of low dust trail the step. This shot only shows arrival at normal speed. 04.0–08.0 | Shot 03: same-side front-oblique two-shot wide, about 35mm, locked. Keep both heads, arms, knees, legs, and the ground visible. Lisa reaches from Alin’s left. Alin lightly blocks her with the left forearm, glances at Lisa, then back toward the escape path. Around 04.6–05.7 Alin says, “I can walk.” Lisa listens only, lips held shut. Alin steps forward with the right foot, then the left support leg fails; her left knee hits the ground while her left hand catches the pavement and the right foot remains planted ahead. Lisa drops with her, hands hovering near shoulder and back. The knee drop happens once only. Contact raises one low, brief dust puff, and two edge-frame crows startle into flight one after another. End on Alin left knee down, right foot forward, preparing to stand by herself. 08.0–11.0 | Shot 04: same-side low medium shot, about 40mm, camera rises slowly with torso. Start matched to the previous kneeling pose, keeping Alin’s left hand on the ground and right leg forward. She shifts the left hand to her own right thigh, presses both feet, and pushes herself slowly upright using the right leg and arm, while the left leg remains weak. Camera rises vertically with her body only, no orbit and no zoom. Lisa stands with her on the left side, hands hovering near Alin’s waist/back, ready to take weight. During the rise Alin’s nostrils flare, mouth tightens, breath comes in short strained bursts; her head and chest lift last. End when she has just regained standing but her knees are not yet fully stable. Ambient movement quiets to light wind only. 11.0–13.0 | Shot 05: hard cut to same-side high oblique two-shot medium wide, about 35mm, locked. Continue from the exact body position after the same rise. Alin tries to keep moving, but the left knee fails again and her upper body tips toward Lisa on her left. Lisa is already there and immediately catches her with the right arm under waist/back while the left hand stabilizes Alin’s left upper arm. Both bend lower; Lisa’s outer left foot steps out half a step and locks into the pavement, scuffing a short dust mark that stops the fall. They stay in body contact and Alin never hits the ground this time. Fallen zombies frame the outer image edges while the walkable gap stays readable. End on both half-crouched with Lisa holding the full weight as they recover. Sound: one sharp interrupted inhale, leather tension, and sole friction, but no second knee impact. 13.0–17.5 | Shot 06: same-side two-shot close-up, about 50mm, locked at eye height. Alin screen left, Lisa screen right, keeping the body contact from the previous shot. From 13.0–14.0 they straighten slightly. Lisa’s right arm continues to bear weight; her left hand helps lift Alin’s left upper arm over Lisa’s right shoulder. This action can pass partly through the lower edge of frame, but faces remain readable. From 14.0–16.5 Lisa looks at Alin and says, “Lean on me. I’ve got you.” Her lower lip trembles once, then she controls it before completing the second line lower and steadier. Alin turns toward her midway through Lisa’s line; the shoulder that still wanted to resist slowly drops. Alin’s left hand grips the front of Lisa’s right shoulder jacket, creating real leather folds. From 16.5–17.5 leave time for the full exhale and visible weight transfer. Lisa keeps supporting her and lets her eyes move first toward the escape route. Both faces stay clear; background softens but remains the same location. Bodies do not suddenly recover upright. Dialogue is prioritized slightly in the mix while wind and distant crow calls continue. 17.5–20.0 | Shot 07: same-side front-oblique wide shot, about 35mm, locked, composed to walk out. Start from the already completed shoulder-support pose. They take two or three difficult short steps along the established gap, toward screen left and slightly toward camera. Lisa keeps Alin steady at the left waist/back. Alin does as much of the walking as she can, but stride stays short and the left leg remains weak. Keep the three depth layers: foreground fallen zombies and crows, midground the two women, background bus and horde. One or two crows lift low from the path and land on a nearby body, folding their wings after landing; the others keep feeding. The horde stays distant and never blocks the near exit. End while both women are still inside frame and still moving, preserving continuation into the next chapter. [Physical Effects and Environmental Feedback] Use weak intermittent crosswind. In world direction, wind blows from street rear-right toward front-left based on the establishing shot; after cuts it must keep the same world direction, never reorient to character facing or camera angle. Small sheets of thin dust skim low over the cracked road, bending around cars and bodies to form tiny eddies. Far haze gently lowers contrast without hiding landmarks or the escape path. Dust must come only from contact. Running and braking kick small grit from the back edges of Lisa’s soles. The first knee hit creates one low short dust puff at pavement contact. Hand-to-ground contact makes only a trace of fine dust. During the catch, Lisa’s sole friction draws a short grounded dust streak. Larger particles bounce first and fall; fine dust spreads later and thins with the wind. Residual dust continues dissipating across cuts. Shot 05 has no body impact with the ground, so no false large dust burst. Crow takeoffs start with a push from the support surface, then wingbeats with layered feather spread. Landings slow with wings open, claws touch first, then wings fold. Only near-ground wing wash lifts a little dust. A bird landing on a body can depress loose cloth and powder slightly, but never bounce the corpse. Pecking is short head-neck thrusting while the feet stabilize. Takeoff, landing, and head turns should be staggered across birds, never synchronized. Alin’s long hair responds to the light crosswind; ends sweep across her shoulders intermittently, and during rising or falling they lag with body motion and then settle. Bangs move slightly but never hide the face or mouth. The torn edges of her top flutter lightly while the garment keeps its original fit and tear pattern. Lisa’s short hair shivers lightly. Her leather jacket stays heavy, with only the loose hem, fur collar, and skirt edge reacting modestly. Clothing folds and stretch follow turning, lowering, rising, and shared weight naturally. Leather must feel weighted. Jeans crease at the knees. Boot soles stay planted on the road. When thin dust passes, the women may narrow their eyes slightly or blink naturally from wind and dust only; do not add face-wiping, coughing, or shielding gestures. Dust catches light only where lit and never glows. Existing wounds stay as they are; no sudden new injury expansion or unexplained spray. [Sound, Score, and Editing] Continuous environmental bed: low wind through ruined buildings and sparse crow calls at varying distances. Far zombies produce very soft dragging steps and low moans, attenuated by distance and kept in the background. Nearby foot grit, dull knee impact, leather strain, breathing, and wing flaps each have clear physical sources. Hard cuts must not break the shared sound world. Shot 01 establishes scale with open wind. Shot 02 brings in footsteps and near wing beats. Shot 03 features one clear dull knee hit. Shot 04 is held by breath and cloth/leather friction during the rise. Shot 05 tightens with sole scrape and interrupted inhale. Shot 06 lowers environment slightly but keeps location bed present while the six English words land clearly. Shot 07 restores walking rhythm while the crows remain behind them in sound. Score: low sustained strings with a very light low-frequency pulse, only to support pressure. After the catch at 13 seconds, remove the obvious pulse and keep only thin strings and breath. No swelling sentimental cue under the intimate dialogue. The whole piece stays at normal motion speed; rhythm comes from the short sliding ground shot, hard cuts, angle changes, and longer acting holds. Match action, body direction, and landmarks cleanly across cuts. Do not repeat the kneel, the stand, or the catch. End directly on the ongoing walk so sound can connect into the next sequence. [Consistency and Exclusions] For the whole film, keep the same Alin, same Lisa, same ruined street segment, same daylight direction, same wind direction, and same layout of fallen zombies. Face shapes, scars, hairstyles, costumes, hand assignments, kneeling side, and load-bearing side must stay continuous. Existing gear is whatever was already confirmed at the end frame of the previous chapter; do not add, remove, or activate equipment here. Support is carried through upper arm, shoulder/back, and waist, never by metal props pressing on a partner’s neck. No motorcycle or moving vehicles, no engine sound, no tire dust, no Hia, no sudden rescuers, no new fight. No giant crows, glowing red eyes, flock attacks, or wings clipping through bodies. No teleporting, side swaps, fused limbs, extra fingers, face drift, mirrored scars, or melodramatic screaming. No floating weight support, body bounce, foot sliding, wild wind-whipped clothing, or explosion smoke walls. No bullet time, time freeze, speed lines, flashy orbiting camera, full-frame occlusion, title cards, subtitles, color swatches, watermarks, or reference-image split layouts.