seedance-20

Turn an idea into a directed video prompt. Seedance 2.0 Skill OS is an agent skill for planning shots, binding references and continuing from an accepted clip. Your video provider handles generation and its costs.

Watch the clips · Try a first prompt · Install · Choose a workflow · Evidence status

v6.7.0 · MIT · Changelog · Emily / Iamemily2050

Languages: English (this page) · 中文 · 日本語 · 한국어 · Español · Русский

Five-minute quickstarts: English · 中文 · 日本語 · 한국어 · Español · Русский

Seen, not told

Seven scenes, seven prompts, five languages. Each is a complete fifteen-second story: the situation legible by shot two, a reversal, and a hold on whoever lost, cut like short drama in four or five shots. Each clip is generated on Seedance 2.0 from the exact prompt beneath it: text to video, no reference assets, one take, no post work. Above each prompt sits the kind of brief people usually type, so the difference is visible before it is explained. Every prompt went through the moderation pre-screen before publication, because a classifier refuses words, not intent, and every prompt is directed for the model: one action per shot while everyone else keeps living, reactions written as a feeling plus one physical anchor, prop work written as a hand, and a lock line closing every shot that restates the light, the people and where they stand, because the model keeps nothing across a cut that the prompt does not repeat. Each prompt was rendered from a shot table that is published beside it, so the geometry can be checked on paper before a take is paid for. Where a clip has not been rendered yet, its slate stands in its place.

Clip 01: By appointment only

English · 15 s · 16:9 · storyboard · slate: not rendered yet · ladder: Stretch: 4.5 beats (one insert at half), load 3, S = 2.0

What people usually type: rich woman disguised as poor gets humiliated at luxury store, plot twist, satisfying, cinematic, 4k

What you know by shot two: Shot one is a soaked woman in work clothes stopped inside a boutique door by a voice that says appointment only; shot three is a phone call that says the new owner is standing in the shop.

Shot 1. Wide shot from the back of a hushed luxury boutique looking toward the glass front door, on a rainy afternoon: cream carpet, glass shelves of shoes along the left wall, the counter on the right with two assistants in black behind it, one folding tissue paper, one glancing up at the door. A woman pushes the glass door open, steps inside dripping, and stops on the mat, water running off her sleeves. From just off frame right, by the counter, the manager's voice, polite and thin: "We're by appointment only, ma'am." She turns her head toward the voice, calm, almost amused, and says nothing. Light: soft grey daylight from the front window, warm spotlights on the shelves. The woman: thirties, dark hair tied back, white overalls stained with paint, tan work boots, standing just inside the door, facing into the shop. Camera at the back of the shop, facing the door.

Shot 2. Cut to a medium shot from the counter side: she walks across the carpet to the white display chaise in the middle of the shop, sits down on it facing the counter, crosses one muddy boot over the other, and looks slowly along the shelves, unhurried. Behind her the two assistants exchange a glance. Same light: soft grey daylight from the front window, warm spotlights on the shelves. The woman: thirties, dark hair tied back, white overalls stained with paint, tan work boots, seated on the white chaise in the middle of the shop, facing the counter. Camera on the counter side.

Shot 3. Cut to a close shot of the manager from the chaise side, standing by the counter, a phone at his ear, listening. Embarrassed, the polite smile fades and he swallows; then he says quietly: "Yes, sir. The new owner is... standing in the shop now." His eyes go past the camera to her, off frame, and stay there. Same light: soft grey daylight from the front window, warm spotlights on the shelves. The manager: fifties, grey suit, steel-rimmed glasses, standing by the counter, facing the chaise. Camera on the chaise side.

Shot 4. Cut to a two-shot from behind the chaise, her shoulder in the foreground, the manager by the counter and the wall of shoes beyond him: she lifts one arm and points at a single pair of shoes on the wall; he walks from the counter to the wall and lifts that pair down with both hands, careful now. Same light: soft grey daylight from the front window, warm spotlights on the shelves. The woman: thirties, dark hair tied back, white overalls stained with paint, tan work boots, seated on the chaise, facing the counter. The manager: fifties, grey suit, steel-rimmed glasses, walking from the counter to the wall of shoes. Camera behind the chaise.

Shot 5. Cut to a close insert of the cream carpet: a trail of wet bootprints from the door to the chaise, rain running down the glass door behind. Hold on the bootprints. Same light: soft grey daylight from the front window. Camera low over the carpet, facing the door.

Sound: rain on the glass door, her boots on the carpet, the murmur of the phone line, his voice dropping; no music, no subtitles.

Floor plan: A boutique: the glass front door at one end, the counter along the right wall, the wall of shoes opposite the door, the white chaise in the middle. The manager starts by the counter; the assistants behind it. Grey daylight from the front window, warm spots on the shelves.

Clip 02: Hold the line

English · 15 s · 16:9 · storyboard · slate: not rendered yet · ladder: Stretch: 4 beats, load 3, S = 2.1

What people usually type: epic storm at sea, fisherman fights giant wave, slow motion, dramatic music, 8k

What you know by shot two: Shot two tells the audience what the rope is worth: an off-screen voice says it is only a boat, and his answer says whose boat.

Shot 1. Wide shot from the landward end of a wooden pier at night in a storm, looking out along it: a small fishing boat straining at a single mooring rope off the far end, its bow lifting and slamming with each swell, rain driven sideways through one sodium lamp, and behind the boat a wave building higher than the mast. At the far end of the pier a man leans back against the rope with both hands, boots sliding on the wet planks, holding on, his back to the camera. Light: one orange sodium lamp on its post at the end of the pier, black water beyond, nothing else. The man: forties, short beard streaked grey, yellow oilskin with the hood down, black rubber boots, at the end of the pier with the rope in both hands, facing the boat. Camera at the landward end.

Shot 2. Cut to a medium shot at deck height from the side of the pier: the man has both hands on the rope, boots braced against a cleat, arms shaking with the strain, the rope creaking as the boat pulls. From the dark behind the camera, landward, a voice shouts over the wind: "Let it go, Tom! It's only a boat!" He hears it, keeps his eyes on the rope, and his grip tightens. Same light: one orange sodium lamp overhead, black water beyond. The man: forties, short beard streaked grey, yellow oilskin with the hood down, black rubber boots, braced at the cleat, facing the boat. Camera at his side.

Shot 3. Cut to a close shot of his face from in front of him, the boat behind the camera: rain running off his brow, eyes on the rope, teeth clenched; without turning his head he shouts