/seedance-prompt

name: seedance-prompt
description: "This skill should be used when the user asks to write, improve, translate, compress, or debug a Seedance 2.0 video prompt; mentions T2V, I2V, V2V, R2V, camera direction, prompt quality, or provides reference assets for a production-ready prompt."
license: MIT
user-invocable: true
tags:
  - prompt-engineering
  - video-generation
  - seedance-20
metadata:
  version: "6.7.0"
  updated: "2026-08-01"
  parent: "seedance-20"
  author: "Iamemily2050 (@iamemily2050)"
  repository: "https://github.com/Emily2040/seedance-2.0"
  openclaw:
    emoji: "🎬"
    homepage: "https://github.com/Emily2040/seedance-2.0"

seedance-prompt

Before producing prompt text, a prompt-ready block, a rewrite, an example, or a compiled clip, load the [Director's Read](../../references/directors-read.md), classify the brief, and complete its canonical narrative or non-narrative record. Translate that record into visible or audible carriers and keep its internal labels out of final generation prose.

Build production-ready Seedance prompts from clear concepts or supplied reference assets. Treat the prompt as a short shooting brief: it must say what changes on screen, what the camera does, what the light and sound contribute, and what must stay stable. Keep final prompts under the platform prompt budget and remove filler before delivery.

Load the [Director's Read](../../references/directors-read.md) before any drafting or compression, [quick-ref](../../references/quick-ref.md) for the checklist, [reference-workflow](../../references/reference-workflow.md) for multimodal references, [i2v-guide](../../references/i2v-guide.md) for image-to-video, [first-last-frame-guide](../../references/first-last-frame-guide.md) for first/last-frame work, [examples-by-mode](../../references/examples-by-mode.md) when examples are useful, [shot-list-continuity](../../references/shot-list-continuity.md) for multi-shot professional plans, [multishot-grammar](../../references/multishot-grammar.md) for shot order, the continuous-versus-storyboard shape rule, the load-per-beat ladder, and cut placement inside one generation, and [multilingual-community-examples](../../references/multilingual-community-examples.md) for Chinese/Russian/Japanese/Korean/Spanish or mixed-language prompts. When sequence state is present, load [prompt-compiler](../../references/prompt-compiler.md) and compile only the current clip contract.

Intent

This is the translator between a scene that exists in someone's head and one that exists on screen. The user has already imagined it; the job is to lose as little as possible in transit. Success is a first generation close enough that they can react instead of explain. Each revision inherits everything the story has already decided and changes only what the reaction asked for - a draft is a conversation, not a restart.

Director Formula

Before filling slots, run the [Director's Read](../../references/directors-read.md) gate. A brief with a dramatic story turn must have all ten canonical narrative fields completed. Observation/performance without that turn and utility briefs use the two-line non-narrative intent and refusal, with no fabricated psychology. Preserve expressive movement, rhythm, or delight when requested. For narrative work, name a single intention from the read and let it choose camera, lighting, blocking, performance, and sound together. Load [directing-engine](../../references/directing-engine.md) when the setup needs its deeper instrument and voice logic. The formula below is the container for a coherent setup, not a checklist of independent decorations; if a project voice is already set, keep this shot inside it.

The Director's Read is internal planning, not prompt copy. For narrative work, compile its turn, visible suppressed behavior, and non-transferable detail into visible or audible carriers. For observation/performance or utility in the non-narrative lane, carry the requested action, rhythm, information, or sensory change without inventing those dramatic fields. Do not paste labels such as `POV`, `power shift`, `hidden want`, or `subtext` into the generation prompt, and do not ship an abstract feeling where blocking, gesture, prop use, camera endpoint, motivated light, dialogue contradiction, silence, or a sound cue can carry it.

Use `Subject + Action + Scene + Camera + Lighting/Style + Audio + Constraints`. Put the subject and primary action first because early clauses set the shot hierarchy. Do not force every slot if a reference asset already shows the information; for I2V, describe only the motion, camera, timing, transformation, audio, and preservation constraints that the still image cannot show.

| Slot | Use for | Prompt-ready pattern | |---|---|---| | Subject | The anchor the model must track. | `Original ceramic perfume bottle on black acrylic, label preserved exactly` | | Action | The visible change. | `condensation beads form and slide down the glass over five seconds` | | Scene | Only what is not already in references. | `quiet rain-lit kitchen counter, shallow depth of field` | | Camera | One primary move with endpoint. | `slow dolly-in from medium product shot to macro label detail` | | Light and style | Physical light plus safe visual language. | `warm practical key from frame left, cool blue rim, clean commercial realism` | | Audio | Ambient bed, SFX, dialogue, or silence. | `Sound: low room tone, soft glass chime on final frame` | | Constraints | Preservation and exclusions. | `do not alter logo, shape, label, or cap geometry` |

Mode Gate

Choose the mode before drafting. **T2V** needs subject, action, scene, camera, light, style, and constraints because nothing is visible yet. **I2V** starts from `@Image1` and adds only motion, time, camera, lighting transition, audio, and preservation. **V2V** should map `@Video1` to source clip, camera move, action rhythm, blocking, edit target, or extension anchor rather than accidenta