Seedance 2.5 AI 生成影片完整教學

Two hands pouring hot tea through a cloth tea sock held in a brass ring into a
dented stainless steel pot, the dark amber stream already falling in the first
frame, foam building on the surface as the pot fills and thick steam rolling up
across the frame. The counter is a worn cream laminate top with old cup rings
and a wet patch, a stack of chipped white enamel cups pushed to one side, a
damp stained cloth bunched next to them, a scratched steel tray holding two
more cups, and behind that plain grubby wall tiles with darkened grout, all of
it slightly out of focus. Flat cool overhead light from a bare tube fitting with
a warm patch of daylight from the left. The camera holds one fixed handheld
frame with small natural drift for the full duration, no push in and no other
camera movement. Photorealistic handheld phone footage, true to life texture,
mildly overexposed highlights, no cinematic grading. Vertical 9:16 composition,
no faces and no people beyond hands and forearms, hands have five fingers in
every frame, no text, letters, numbers, logos, signage, menus, price cards,
labels or printed packaging anywhere, every surface in frame blank and unmarked,
no machines or electronic equipment, shapes stay stable with no warping and no
flicker.

Two hands pouring steamed milk from a small stainless jug into a plain white cup
of espresso, the pour already running in the first frame, the crema splitting
and a leaf pattern forming and settling as the cup fills to the rim. Shot
straight down onto a scratched stainless steel bar top scattered with loose
coffee grounds, a damp brown stained bar towel crumpled at the edge, a stack of
plain white saucers, a spoon lying in a small puddle, and water beads across the
metal. Warm side light from a window on the left, cool fill from above. The
camera stays in one fixed overhead frame with a small handheld sway for the full
duration, no push in and no other camera movement. Photorealistic handheld phone
footage, true to life texture, no cinematic grading. Vertical 9:16 composition,
no faces and no people beyond hands and forearms, hands have five fingers in
every frame, no text, letters, numbers, logos, signage, labels or printed
packaging anywhere, every surface in frame blank and unmarked, no machines or
electronic equipment in view, shapes stay stable with no warping and no flicker.

Two hands wrapping a bunch of white and pale pink flowers in brown kraft paper
on a battered wooden work bench, the hands already folding the paper in the
first frame, then drawing a length of natural twine around the stems and pulling
it tight so the paper crushes and creases sharply and two cut leaves fall onto
the bench. The bench is covered in cut stems, leaf trimmings, short offcuts of
twine and dark wet patches, with a grey plastic bucket of water half in frame
and a pair of plain scissors lying open beside it. Soft daylight from a window
on the right, cool and slightly grey. The camera makes one slow tilt down from
the flower heads to the hands over the full duration, no other camera movement.
Photorealistic handheld phone footage, true to life texture, no cinematic
grading. Vertical 9:16 composition, no faces and no people beyond hands and
forearms, hands have five fingers in every frame, no text, letters, numbers,
logos, signage, labels, printed paper or printed packaging anywhere, the kraft
paper is completely blank, every surface in frame unmarked, shapes stay stable
with no warping and no flicker.

@image 1 is the product: reproduce this exact bottle and its exact label
faithfully, do not redraw, restyle, re-space or re-colour it. Two hands lift the
bottle from a cluttered bathroom shelf and twist the dropper open in the first
frame, then squeeze one drop of clear serum onto the back of the other hand
where it lands and slowly spreads and catches the light. The shelf is crowded
with a damp folded towel, a plain unmarked ceramic cup holding a toothbrush, a
hair tie, a small dish with water pooled in it, and beyond it fogged tiles with
water spots and a mirror edge, all softly out of focus. Soft daylight from one
side, slightly cool. The camera holds one fixed handheld frame with small
natural drift for the full duration, no push in and no other camera movement.
Photorealistic handheld phone footage, true to life skin texture with visible
pores, no cinematic grading. Vertical 9:16 composition, no faces and no people
beyond hands and forearms, hands have five fingers in every frame, no text,
letters, numbers, logos or labels anywhere except the label carried in from the
reference image, every other surface in frame blank and unmarked, shapes stay
stable with no warping and no flicker.

Two hands lathering white soap suds along the wet back and shoulder of a small
brown dog standing in a shallow stainless steel tub, then lifting a plain
plastic jug and pouring warm water over the fur so the suds slide off in sheets
and the wet coat flattens and darkens. Only the dog's back, shoulder and one ear
are in frame and its head is turned away from the camera. The tub sits on a
scuffed tiled floor with puddles and stray wet fur, a soaked towel draped over
the tub rim, a plain rubber mat and an overturned plastic basin beside it.
Bright flat daylight from a window on the left. The camera holds one fixed low
handheld frame with small natural drift for the full duration, no push in and no
other camera movement. Photorealistic handheld phone footage, true to life wet
fur texture, no cinematic grading. Vertical 9:16 composition, no human faces and
no people beyond hands and forearms, hands have five fingers in every frame, no
clippers, dryers, machines or electronic equipment anywhere, no text, letters,
numbers, logos, signage, labels or printed packaging anywhere, every surface in
frame blank and unmarked, the dog keeps a stable anatomy with four legs and no
warping and no flicker.

Two hands press and smooth a folded oatmeal linen shirt on a worn wooden table
in the first frame, then pick it up by the shoulders and let it fall open so the
fabric unfurls downward, the creases releasing and the hem swinging and settling.
The table is crowded with a leaning stack of folded garments in muted colours,
a loose thread, a crumpled sheet of plain tissue paper, two bare wooden hangers
and an open grey plastic crate at the edge, all slightly out of focus. Soft
daylight from a large window on the right, cool and even. The camera holds one
fixed handheld frame with small natural drift while the fabric moves through it,
no push in and no other camera movement. Photorealistic handheld phone footage,
true to life woven fabric texture with visible slubs, no cinematic grading.
Vertical 9:16 composition, no faces and no people beyond hands and forearms,
hands have five fingers in every frame, all fabric completely plain with no
print, no pattern, no tags and no stitching text, no text, letters, numbers,
logos, labels, tape measures or printed packaging anywhere, every surface in
frame blank and unmarked, shapes stay stable with no warping and no flicker.

A hand in a soaked wash mitt drags across a wet deep blue painted car panel
already covered in white foam in the first frame, the foam sheeting away behind
the mitt and clear water running down while a sharp mirror reflection of the sky
opens up on the cleaned paint. Framed tight on a plain curved painted panel with
no badge, no grille, no lights, no window and no wheel in view. Below and behind,
soft focus wet concrete with puddles, a black bucket with a coiled hose beside
it and a damp folded towel over the bucket rim. Overcast daylight, cool and
diffuse, with one bright soft highlight sliding along the paint. The camera makes
one slow lateral follow alongside the panel for the full duration, no push in and
no other camera movement. Photorealistic handheld phone footage, true to life
water and paint texture, no cinematic grading. Vertical 9:16 composition, no
faces and no people beyond a hand and forearm, the hand has five fingers in every
frame, no text, letters, numbers, logos, badges, emblems, signage or printed
packaging anywhere, every surface in frame blank and unmarked, no machines or
electronic equipment, shapes stay stable with no warping and no flicker.

Two hands fold the flaps of a plain kraft cardboard box shut in the first frame,
then pull a strip of clear packing tape across the seam and press it down firmly
with the heel of the palm so the tape flattens and the box is sealed. Shot
straight down onto a scarred wooden desk covered in working mess: torn offcuts
of bubble wrap, a crumpled ball of plain paper, three more flat kraft boxes
stacked unevenly, a pair of scissors and a scattering of paper dust. Warm
tungsten light from above with a cooler daylight edge from the left. The camera
stays in one fixed overhead frame with a small handheld sway for the full
duration, no push in and no other camera movement. Photorealistic handheld phone
footage, true to life cardboard and tape texture, no cinematic grading. Vertical
9:16 composition, no faces and no people beyond hands and forearms, hands have
five fingers in every frame, the boxes and tape are completely blank with no
print, no text, letters, numbers, logos, barcodes, labels, address slips or
printed packaging anywhere, every surface in frame unmarked, no machines or
electronic equipment, shapes stay stable with no warping and no flicker.

A fine yellow metal chain already pouring from between two fingers in the first
frame, falling in a thin continuous line onto dark crumpled velvet cloth where it
coils into a loose pile, catching small bright points of light as it lands. The
velvet lies on a worn wooden tray with a shallow ceramic dish of loose plain
rings pushed to one side, a soft grey polishing cloth bunched next to it and fine
dust visible on the wood. A single warm lamp from the upper left with deep shadow
on the right. The camera holds one fixed close handheld frame with small natural
drift for the full duration, no push in and no other camera movement.
Photorealistic handheld phone footage, true to life metal and velvet texture, no
cinematic grading. Vertical 9:16 composition, no faces and no people beyond hands
and forearms, hands have five fingers in every frame, no gemstones with cut
detail, no hallmarks, no engraving, no text, letters, numbers, logos, boxes,
labels or printed packaging anywhere, every surface in frame blank and unmarked,
shapes stay stable with no warping and no flicker.

Two hands tip a small ceramic bowl and pour a little oil into one palm in the
first frame, rub the palms together, then press slowly and firmly along a
client's shoulder and upper back over a folded grey towel so the towel creases
and gathers under the pressure. The client lies face down with the head turned
fully away from the camera and out of focus. Around the table are rolled damp
towels stacked unevenly on a low wooden shelf, two burning candles, a folded
linen sheet slipping off the edge and a worn wooden floor below. Warm
candlelight from the right with soft shadow, fine steam drifting. The camera
makes one slow lateral drift along the client's back for the full duration, no
push in and no other camera movement. Photorealistic handheld phone footage, true
to life skin and fabric texture, no cinematic grading. Vertical 9:16 composition,
no visible faces, hands have five fingers in every frame, no medical or
professional equipment of any kind, props limited to towels, candles, bowls and
furniture, no text, letters, numbers, logos, signage, labels or printed packaging
anywhere, every surface in frame blank and unmarked, shapes stay stable with no
warping and no flicker.