Сделал гиперреалистичный фильм за 1 день. Без камер и актёров | Гайд по Seedance 2.5 — Transcript

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1. 0:00I created this hyper-realistic film in
2. 0:02just one day. No cameras, no actors,
3. 0:12all solo. What would take millions and
4. 0:15months of work in real production, I
5. 0:18did in a day with AI. And now I’ll
6. 0:21show you the whole process from scratch
7. 0:23, from idea to final edit. Not just
8. 0:25another tutorial. After this video, you
9. 0:27will be able to create your own short
10. 0:30film. The profession of an AI director
11. 0:35is emerging, and now is the time to be
12. 0:38among the first. With the release of
13. 0:42SVD 2.5, generation quality is now on
14. 0:44par with real footage. Watch until the
15. 0:48end, where I show how to create long,
16. 0:51consistent scenes in SVD 2.5. But first
17. 0:55, let's watch the film itself. Just not
18. 1:31up there. man Yes. Son, you didn't
19. 2:06sleep again all night? Just a little
20. 2:10more left. Almost got the done. Youve
21. 2:20got a father waiting, hav you? My last
22. 2:28job. Yeah. June. Sorry. Your father
23. 2:53died just I'm out. Nobody walks out.
24. 3:27You go up, you go down on the flor.
25. 3:49Friend, look, every film starts with an
26. 3:52idea. I found all my inspiration while
27. 3:54traveling through Asia. I was hooked by
28. 3:57the "Low Rich Life" concept, where
29. 3:59there's no middle class. And I was also
30. 4:02a bit inspired by my favorite film,
31. 4:04John Wick. First, we go into Claude and
32. 4:07create a project. I’ll call my film "
33. 4:09On the Top." And here is the first
34. 4:11important point. In the Context tab,
35. 4:13upload three prepared instructions.
36. 4:15These are the LRA skill, acting skill,
37. 4:18and SVD skill. The LRA skill helps
38. 4:20write prompts for images. It picks the
39. 4:22right model for the task and writes a
40. 4:24prompt for it. The SVD Skill writes
41. 4:27hyper-realistic prompts for SVD 2.5. It
42. 4:30contains all the rules of real
43. 4:32cinematography: camera movement, shots,
44. 4:34and angles. Without it, prompts are
45. 4:36poor, and the animation looks stiff and
46. 4:39unrealistic. And the most important one
47. 4:41is the acting skill. It maintains
48. 4:44character identity across generations
49. 4:46and animates them to avoid the Uncanny
50. 4:48Valley. Without it, our hero would be a
51. 4:52completely different person in every
52. 4:54new generation. This skill is exactly
53. 4:56what makes the entire generative result
54. 4:59realistic. By the way, I left all the
55. 5:01skills in the description. Now we write
56. 5:03the script. In the prompt, I create a
57. 5:06three-act structure with a non-linear
58. 5:08plot so the hero jumps through past,
59. 5:10future, and present. Then I describe
60. 5:13the idea: an Asian world with a "Low
61. 5:15Life, Rich Life" concept. While Claude
62. 5:18writes the script, here's one important
63. 5:20detail for the whole project. The more
64. 5:22precise the request, the better Claude
65. 5:24handles it on the first try. Not 33
66. 5:27iterations, just three. We always
67. 5:30follow this logic. Both with images and
68. 5:33with video. Be sure to remember this.
69. 5:35Great. The script is ready. I like
70. 5:37everything. Now we create a project
71. 5:40file. Claude gathers everything here.
72. 5:42Actors, locations, props, script. We
73. 5:45upload this file back into the context.
74. 5:47Now, with every request, Claude
75. 5:49re-reads it and avoids stupid mistakes.
76. 5:52This is its primary memory. We have
77. 5:54fully trained our model. So, let's
78. 5:56start with the characters. Our first
79. 5:58character, the protagonist, is June.
80. 6:00I'm writing the prompt. Character sheet
81. 6:02, face close-up, full body from the
82. 6:04back without the head, wearing a black
83. 6:06suit. Claude determines the model
84. 6:08itself via Rask. In our case, it's
85. 6:10Hixfield Soul, and it writes a prompt
86. 6:12for it. We copy it, go to Hixfield,
87. 6:15open Hixfield Soul, set the 16: 9
88. 6:17format, and run eight iterations at
89. 6:19once. I chose this guy here. He seemed
90. 6:22the most stern, the most formidable,
91. 6:24and there's a lot of pain in his eyes.
92. 6:26But one problem popped up. Soul
93. 6:28generated the sheet with a face, not
94. 6:30without. You can see the faces are
95. 6:33different, and during generation, these
96. 6:35faces will overlap, leading to a
97. 6:37different result every time. But
98. 6:39that’s no problem; we’ll fix it in
99. 6:41Nanobanan Pro. We upload the reference
100. 6:44and write: "Remove the head in the
101. 6:46full-body shot, leave the rest as is."
102. 6:48Quality 4K, 16: 9. We generate. There
103. 6:52is one nuance here. The face could
104. 6:54change, skin quality could worsen, and
105. 6:55the overall quality could drop. So we
106. 6:57go to CapCut and overlay the two photos
107. 7:00. From the edited one, we take only the
108. 7:02angle without the head and overlay it
109. 7:04onto the first. We export the still
110. 7:06frame. That’s it, the sheet is ready.
111. 7:08The second character is the courier.
112. 7:11Claude already knows how to make a
113. 7:12sheet properly, so I just write: "Make
114. 7:14a courier sheet" and repeat the whole
115. 7:16process. Next is the location: a
116. 7:19rooftop. I write: "Rooftop of a
117. 7:21building at a 3/4 angle, rain." But why
118. 7:233/4? This angle shows 70 or even 80%of
119. 7:27the location. And since it knows more
120. 7:30about the location, it keeps it
121. 7:31consistent. That's why we make every
122. 7:33location for the scene at 3/4. Claude
123. 7:36suggests Soul Cine. We set the
124. 7:39resolution to 21: 9, the most cinematic
125. 7:41. I choose the darkest rooftop with
126. 7:43lights. That's it, we've gathered
127. 7:45absolutely all the assets. Let's make
128. 7:47the animation. I load everything into
129. 7:49Claude and write: "Animation for scene
130. 7:51one." Duration 20 seconds. I label the
131. 7:54references. Image 1 June, Image 2
132. 7:56courier, Image 3 location, Image 4 gun.
133. 8:00I give them names, and they will
134. 8:01automatically attach to the prompt. And
135. 8:04here is the main point of working in
136. 8:05Scenes. It often gets confused about
137. 8:07the characters. In one shot the hero is
138. 8:09on the right, and in the next he is
139. 8:10already on the left. Therefore, we
140. 8:13start every generation with a wide shot
141. 8:16for at least one second. Even if our
142. 8:20scene doesn't imply a wide shot in the
143. 8:21context, it must clearly state who is
144. 8:23standing where. Thanks remembers
145. 8:26everything and doesn't get confused.
146. 8:28The first shot is a thunderstorm, rain,
147. 8:30and a wide shot. June is on the right,
148. 8:32the courier is lying on the left, and
149. 8:34the gun is aimed at the courier. Next,
150. 8:36we describe every frame in detail.
151. 8:38Camera movement, shot type, angle,
152. 8:41character action, and dialogue, if any.
153. 8:44Timings are optional. Claude will pick
154. 8:46them itself. And again, the more
155. 8:48accurate the prompt is now, the more
156. 8:50credits you'll save on iterations. The
157. 8:52second shot is a close-up of June's
158. 8:54face, low angle, with a lightning flash
159. 8:56. Then the courier raises his head,
160. 8:58close-up on June. The scene is silent,
161. 9:00all action is in the facial expressions
162. 9:02, so we only use close-ups here. We
163. 9:04upload all these elements to Seds now,
164. 9:06and it's important to name them exactly
165. 9:08as stated in the prompt so they load
166. 9:10automatically. The first scene turned
167. 9:22out to be only 10 seconds instead of 20
168. 9:24. No big deal, we'll just cut half of
169. 9:26it out. Taking it into editing. By the
170. 9:28way, all the prompts from this scene,
171. 9:29all the prompts from the other scenes,
172. 9:31and all the instructions for Claude are
173. 9:33in the description. You don't have to
174. 9:35pause and rewrite them manually. Open
175. 9:37the description, grab them, and
176. 9:39generate along with me. It will be
177. 9:41faster that way. We are moving on to
178. 9:42the next scene. And the most important
179. 9:44thing here is young June. I'll show you
180. 9:47once how it's done. I write: "Give me a
181. 9:49character sheet of young June in old,
182. 9:51worn-out clothes." Claude suggests an
183. 9:53option, but let's do it smarter using
184. 9:56GPT Image 2. We paste the prompt and
185. 9:59attach the adult June character sheet
186. 10:01as a reference so he looks like himself
187. 10:03. He turned out cheerful and younger,
188. 10:05but we'll change the head later. There
189. 10:07are also two bandits in the scene. A
190. 10:09fat one and a thin one. The location is
191. 10:11Chinatown, an alley where June hides,
192. 10:14and a parcel. I assemble everything
193. 10:16using the same scheme. I uploaded all
194. 10:18the assets to Claude and described the
195. 10:20scene, what I want to see in it. It
196. 10:48didn't work out on the first try, so I
197. 10:50split the scene into two parts: the
198. 10:51escape and the alley, and stretched
199. 10:53each one out so it wouldn't be rushed.
200. 10:56This is the request I wrote for the
201. 10:57first part. I removed unnecessary VPN.
202. 11:00And here is what happened after the
203. 11:02edit. And here is the second request.
204. 11:17And here is what happened after the
205. 11:19edit. Let's put these two scenes
206. 11:33together and see what we ended up with.
207. 11:46Excellent, the dynamics are there, the
208. 11:48shots are good. We take it and move on.
209. 11:51For the flashback, I prepared young
210. 11:52June. His father, the location, old
211. 11:55Asian slums with skyscrapers, and an
212. 11:58old scooter. Everyone in Asia rides
213. 12:01these. I start with a wide shot to lock
214. 12:03in the composition. Red scooter in the
215. 12:06foreground, father on the left, June on
216. 12:08the right. I described my idea, and all
217. 12:10the close-ups emphasize the emotions.
218. 12:13And the camera movement is a handheld
219. 12:16shaky camera, so-called "live shooting,
220. 12:18" which adds realism and immersion into
221. 12:20the scene. I want maximum realism, so
222. 12:24I'll be using live-action footage
223. 12:25almost everywhere. Let’s take a look
224. 12:28at the finished scene. Excellent.
225. 12:50It’s great on the first try;
226. 12:51cinematic smoke, beautiful animation,
227. 12:53I’m taking it all to editing. And
228. 12:56finally, we move on to the longest
229. 12:58scene—a full minute—which consists
230. 13:00of four parts. Now you will truly
231. 13:03understand how long, consistent scenes
232. 13:05are created in Kling 2.5. In the story,
233. 13:07June is preparing for a job. His aunt
234. 13:09calls him: his father has died. Furious
235. 13:12, June calls his boss to say he's out
236. 13:14of the game. But the boss replies, "You
237. 13:16either stay or you die." The location
238. 13:19is a model with neon lighting. Props: a
239. 13:21hammer, gloves, keys, a backpack. And
240. 13:24for the photo of father and son, I just
241. 13:26gathered locations from a flashback.
242. 13:28Plus two photos. I’ll ask Ideogram to
243. 13:30combine them into one image via
244. 13:32Magnific AI. And an old, cracked phone
245. 13:35with an incoming call from his aunt in
246. 13:37Chinese. So, part one. This is the
247. 13:40prompt I wrote and the elements I
248. 13:41uploaded. Extreme close-up on June's
249. 13:43face in profile. He is looking at the
250. 13:45blinds. This will be my opening shot.
251. 13:48Next, an important technique. I anchor
252. 13:50the camera position to an object. Not
253. 13:52just a close-up, but a shot through a
254. 13:54photo, over the shoulder, past the head
255. 13:57. When there is an object in the frame
256. 13:59that something is anchored to, the
257. 14:00composition is much more precise.
258. 14:02Let’s take a look at the first scene.
259. 14:18The first time, the composition drifted
260. 14:19, the window ended up in the wrong
261. 14:21place, and there was an extra phone in
262. 14:23the frame. Let’s give Claude some
263. 14:25edits. I tell him the window is in
264. 14:27front of the table, and the first shot
265. 14:28should be closer. Timing the shots. On
266. 14:45the second try, we got exactly what we
267. 14:46needed. A continuous shot, live-action,
268. 14:48cinematic. That’s it, the first part
269. 14:50is ready. Moving on. The second part
270. 14:53starts right where the first one ended.
271. 14:55A wide shot for establishing the scene.
272. 14:57Then a shot of the phone. His left hand
273. 15:00reaches out and answers the call. A
274. 15:03long, lingering close-up, because long
275. 15:06shots create a cinematic effect rather
276. 15:08than a choppy one.
277. 15:26Well, that is a perfect generation on
278. 15:28the first try. The third part is very
279. 15:31powerful and highly emotional. We start
280. 15:33with a wide shot as well. Then, in one
281. 15:35long take, June's hands sweep
282. 15:37everything off the table. He screams,
283. 15:40clutches his head, and hits the wall on
284. 15:42the right. The live-action footage here
285. 15:45conveys all the rage. At the end, I
286. 15:46establish a wide shot. The next part
287. 15:48will start from here. Part four is the
288. 16:10finale of our scene. June is sitting by
289. 16:13the right wall, as he was at the end of
290. 16:15the last part. He calls his boss, zero
291. 16:18emotion on his face, an empty gaze
292. 16:19straight into the camera, breaking the
293. 16:21fourth wall. The last shot is a cut to
294. 16:24a frame from the first scene. It
295. 16:26creates a "match cut" to show that the
296. 16:28hero has become a completely different
297. 16:31person. And this is the level for which
298. 16:47studios charge hundreds of thousands.
299. 16:49And you saw the whole process of how
300. 16:51shot descriptions and editing turn into
301. 16:54a full-fledged short film,
302. 16:55indistinguishable from real footage. If
303. 16:58you want these breakdowns regularly, I
304. 17:01post all the tricks, new guides, and
305. 17:03fresh industry news to my Telegram
306. 17:05channel. Everything that doesn't fit on
307. 17:08YouTube goes there. Links, as always,
308. 17:10are in the description. Subscribe so
309. 17:12you don't lose it. I admit, I generated
310. 17:15a few more scenes behind the scenes,
311. 17:17but the workflow is no different from
312. 17:19what I showed. The same live-action
313. 17:21shots, the same asset preparation. The
314. 17:23main thing is to understand the purpose
315. 17:25of the shots. Want to show emotions?
316. 17:28Close-up. For atmosphere, a wide shot;
317. 17:30to focus on an object, a detail shot.
318. 17:32For transitions or dialogue, use a
319. 17:34medium shot. That's the entire pipeline
320. 17:37. You ran in the lower. You like me.
321. 18:11Not up there. man fors Yes. Son, you
322. 18:45didn't sleep again all night? Just a
323. 18:50little more left. Almost got the money.
324. 18:55Done. You got a father waiting, have
325. 19:01you? My last job. Yeah. June. I'm sorry
326. 19:31. Your father died just...I'm out.
327. 20:06Nobody walks out. You go up, you go
328. 20:08down on the floor. We made a film in
329. 20:31just one day. Without a camera and
330. 20:34without a crew. What would have cost
331. 20:37millions and months of work just a
332. 20:39couple of months ago, we did in just
333. 20:41one day. And now you know how to do it,
334. 20:44too. Not just watching and thinking "
335. 20:46wow, how cool," but actually knowing
336. 20:47the whole process, since you have it in
337. 20:49your hands. All the skills and all the
338. 20:52prompts are in the description. Grab
339. 20:54them and create your own film. Don't
340. 20:56put it off. The best time to start is
341. 20:59now, while the niche is just opening up
342. 21:00. Like this video if you found it
343. 21:03useful. Subscribe and see you in the
344. 21:05next video.