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First we have to create our assets.
To do that, we will work in Seedream 5.0 PRO in HIGGSFIELD
Now we go to Seedance 2.5 in Higgsfield. Here, input your assets and paste these prompts, one per clip.
Assets to input, in this order: Location (image 1), Character Sheet (image 2), Face reference (image 3).
SCENE CONTEXT
Cool comedy beat in phone POV: NIKOLAZ, a young adult knight in silver armor, stands in a fog-covered field holding THE PHONE CAMERA in his LEFT hand, arm extended out to his LEFT side — WE ARE THE PHONE; the phone itself is never seen IN THE FRAME, THE PHONE IS THE CAMERA.
His RIGHT hand holds a clear plastic cup of iced café con leche. He doesn't look at us: he keeps staring straight ahead into the fog, in a HALF PROFILE like <<<image_3>>>, with a calm expression like <<<image_3>>>, indifferent and serene, a "well… here we go" face.
He drinks from the cup, tosses the CUP with his RIGHT hand straight back over his back — and, a beat later, also throws US, the camera, backward with his LEFT hand.
The POV flies backward, tumbling head over heels, the world spinning and the ground rushing up.
10 seconds, one continuous POV shot, vertical 9:16, full realism.
ACTIVE REFERENCES — STRICT ROLE HIERARCHY
<<<image_1>>> (first image): LOCATION — a foggy grass field under a fully overcast sky: knee-high tall grass stretching edge to edge, a few dark mossy boulders half-sunk in the mid-distance, dense fog erasing the horizon into a luminous grey-white void, visibility 40-60 meters. 100% matches the reference. A steady wind lives in the scene: the grass sways in running waves.
<<<image_2>>> (second image): NIKOLAZ CHARACTER SHEET — controls everything except the face: the armor is highly elaborate polished steel, engraved with intricate floral and acanthus-leaf motifs centered on the breastplate. The pauldrons are large, articulated and equally engraved. The arms and gauntlets are fully articulated. The legs have articulated greaves and pointed sabatons matching the polished engraved steel design; black riveted chainmail; brown leather sword-belt with the arming sword sheathed on his BACK with the hilt on the LEFT side; articulated silver greaves and gauntlets; over his shoulders, a heavy black hooded wool cloak, textured, falling to his ankles. Colombian Latino man, 26 years old, 180 cm tall, defined athletic build, bodybuilder-fitness style with broad back. Does NOT control the face.
<<<image_3>>> (third image): NIKOLAZ'S REAL FACE — sole source of his facial features, 100% match, zero drift: angular, elongated male face with prominent cheekbones and a strongly defined jawline. Hair: very dark black, cut on the sides in a clean classic low taper fade and longer on top, styled forward into a messy, textured fringe covering much of the forehead. Thick dark eyebrows. Dark eyes with a direct, fixed, serious gaze. Slight shadows or faint dark circles under the eyes. Facial hair: short, trimmed beard and mustache connected around the mouth. Accessories: very thin dark metal-framed glasses with square lenses and rounded edges, modern style. Expression: neutral, serene, contemplative look.
THE CUP — prop lock, RIGHT HAND
A CLEAR PLASTIC cold-drink cup with a domed transparent lid and a pale translucent straw, filled with CAFÉ CON LECHE AND ICE CUBES. Condensation beading on the cup, ice clinking, the drink sloshing with every movement. It must stay in his RIGHT HAND for the entire clip. Real disposable-cup physics.
FORMAT MODE
One continuous shot, 10 seconds, vertical 9:16. NO cuts. The camera IS HIS PHONE — iPhone 16 Pro character: crisp wide digital look, natural handheld micro-shake transmitted from his LEFT hand. THE PHONE NEVER APPEARS IN FRAME — no phone body, no screen, no reflection of it; we only ever see what its lens sees.
CAMERA — THE PHONE IN HIS LEFT HAND
Held in his LEFT hand, arm extended out to his LEFT side at chest-shoulder height, lens aimed back at him. He reads in a close three-quarter framing from his LEFT side, chest-up, like a casual selfie-video he isn't bothering to look at. His RIGHT hand, holding the cup, is on the far side of the frame. Behind him: the foggy field, grass waves and a dark boulder faintly ghosting in the grey. The frame breathes with his arm — every weight shift and gesture reads as organic handheld motion.
IMPORTANT: he NEVER looks into the lens; his eyes stay fixed FORWARD into the fog the entire time.
ACTION — 0:00-0:10
0:00-0:03 THE STARE
He stands still, his left arm holding us out to his side, and just looks ahead at the wall of fog. Calm, flat, unimpressed expression. Slightly narrowed, indifferent eyes, a slow tired blink. The vibe: "mmm… so this is what's waiting for me." The wind moves his hair a little without fully messing it up and stirs the cloak. His breathing is visibly noticeable. A strand of hair catches on his glasses and he ignores it.
0:03-0:06 THE SIP
Without moving his gaze from the fog, his RIGHT hand raises the clear cup into frame. He takes a LONG, DELIBERATE, UNBOTHERED PULL from the straw. His cheeks hollow slightly. The ice shifts and clinks. The coffee level visibly drops. Condensation slides down the plastic. One slow blink during the sip. He lowers the cup. A tiny exhale through the nose, almost a scoff.
0:06-0:07.5 THE CUP TOSS — RIGHT HAND, STRAIGHT BACK
Still staring ahead, he quickly flicks his RIGHT arm and tosses the cup BACKWARD OVER HIS RIGHT SHOULDER, straight behind his back, without a glance. The cup arcs through the background of the frame. Mid-flight: the domed lid POPS OFF; the straw spins away separately; the coffee bursts free in a light-brown twisting ribbon; the ice cubes fly out on individual trajectories; the liquid splatters across the grass behind him; the empty cup bounces once and settles on the ground. His expression doesn't change at all.
0:07.5-0:10 THE PHONE TOSS — LEFT HAND, OVER HIS BACK
A beat later, keeping exactly the same deadpan expression, his LEFT arm (the one holding us, out of frame) moves violently and HE THROWS US BACKWARD OVER HIS BACK. The POV LEAVES HIM. A violent whip of acceleration. The world explodes into motion as we sail backward through the air, passing over his shoulder. The camera starts TUMBLING HEAD OVER HEELS: fog/sky → spinning grass → his small armored figure flashing past upside down, back to us, still facing the fog and shrinking → sky again → grass RUSHING UP. Exactly two full rotations. Motion blur streaking the greys and greens. Wind roaring over the mic. The clip ENDS MID-FALL, one frame above the grass. The landing must continue in the next shot.
NIKOLAZ'S PERFORMANCE
Total deadpan confidence. A self-assured young adult knight who has decided not to be impressed by whatever is waiting in the fog. No smiles. No fear. No glances at the lens. Calm, fixed gaze forward. Natural blinks. Slow, visible breathing. Micro-expressions only: one tired blink; one small exhale through the nose; one slow swallow after the sip.
PHYSICS
The POV inherits every real motion of his left arm: micro-shake; a slight tilt during the sip; a sharp whip during the throw.
Cup: realistic physics of a lightweight plastic cup thrown with the RIGHT HAND over the shoulder. Fast flips. The lid separates due to rotation. The liquid leaves first as a coherent sheet that breaks into drops. The ice scatters on individual trajectories. Everything must land in believable spreads on the grass behind him.
Phone: realistic rotation of a thrown object. Consistent spin axis. Exactly two full rotations. Fast parallax. Motion blur proportional to angular speed. The ground approaches with real acceleration.
Wind moves the grass, hair and cloak with natural lag throughout.
LIGHTING
Flat, soft, shadowless light matching the fog and overcast sky of <<<image_1>>>. Cool grey-white tone. No sun. No marked light direction. Soft, dull sky reflections on the armor. The coffee must contrast against the pale surroundings. Natural exposure. Real, slightly muted colors.
AUDIO
Wind hitting the mic. Grass rustle. Armor creaking at small movements. The sip: ice clinking, a long slurp through the straw, ending with a hollow straw sound. The cup toss: a soft whoosh behind him, the lid popping off, liquid splashing, ice pattering on the grass. The phone throw: a sharp whip of acceleration, whistling rotation flutter — whoomp-whoomp — wind rising as the camera nears the ground. A single flat exhale through the nose. No music. No dialogue. No subtitles.
POSITIVE CONSTRAINTS
One continuous phone-POV shot. No cuts. Never show a third-person view. The camera must obey the logic of a phone held in his LEFT HAND until it is thrown. After the throw, it must behave like a physically thrown phone. THE PHONE IS NEVER VISIBLE: no phone body, no screen, no external shot showing a hand holding the phone.
HAND LOCK
Phone = LEFT HAND (us). Cup = RIGHT HAND.
The cup must be thrown by the RIGHT HAND straight back over his back at approximately 0:06.5, breaking apart mid-flight.
The phone must be thrown by the LEFT HAND backward over his back at approximately 0:07.5, making exactly two full rotations before ending just above the grass.
He NEVER looks into the lens. His eyes stay forward, into the fog, for the entire clip. His face stays calm and indifferent.
NO dragon. NO creatures. NO other people visible. Only him, the field and the fog.
Face 100% <<<image_3>>>, zero drift. Wardrobe and armor 100% <<<image_2>>>. Location 100% <<<image_1>>>, with constant wind.
REALISM
Full realism: real skin with pores and detail; real hair moved by the wind; authentic metal; plastic, liquid and ice with real physics; no animated look; no CGI sheen; no plastic skin. Clean image: no grain; no vignette. No text. No logos. No watermarks.
OPTICS
iPhone 16 Pro phone-camera character: crisp wide digital look; deep depth of field; natural clarity; NOT anamorphic; NO cinematic bokeh; everything must stay sharp like a phone recording. Slight lens breathing with motion. Motion blur only from real movement speed. Focus locked on him. The fog must soften and absorb the background naturally.
Assets to input, in this order: Location (image 1), Character Sheet (image 2), Face reference (image 3), Dragon (image 4), Scale Reference (image 5 — the final image at the bottom of this page).
SCENE CONTEXT
A SINGLE CONTINUOUS SHOT, no cuts from start to finish: WE ARE THE CAMERA — not a phone, but the point of view itself that watches the whole scene, a floating bodiless eye. The shot opens mid-tumble, inheriting the spin of the previous fall — the grass RUSHES UP at us, IMPACT, a bounce-flip, and we SETTLE, low and tilted in the grass, FOCUSING ON THE KNIGHT FROM BEHIND, distant and small in the middle of the field. From that locked ground-level frame, the whole scene reveals itself: NIKOLAZ stands with his back to us, facing a wall of fog — and out of that fog EMERGES, advancing toward him, a COLOSSAL crimson SEVEN-HEADED dragon. The dragon takes THREE STEPS forward; each step makes the GROUND SHAKE and ALSO SHAKES US, the camera, like a shockwave reaching all the way to where we lie. Nikolaz holds a LARGE SHIELD in his LEFT hand and draws his sword with his RIGHT hand. The seven heads find him, the necks rise, the jaws part and a deafening seven-voiced ROAR bursts across the field; its force rips us off the ground and hurls us away. The video ends there. 10 seconds, one continuous shot, HORIZONTAL 16:9, full realism.
ACTIVE REFERENCES — STRICT ROLE HIERARCHY
<<<image_1>>> (first image): LOCATION — a foggy grass field under a densely overcast sky: knee-high tall grass rolling edge to edge, a few dark mossy boulders half-sunk in the mid-distance, dense fog erasing the horizon into a luminous grey-white void, visibility 40-60 meters. 100% matches the reference. A steady wind lives in the scene: the grass sways in waves running across the field.
<<<image_2>>> (second image): NIKOLAZ CHARACTER SHEET — controls everything except the face: highly elaborate polished steel armor, engraved with intricate floral and acanthus-leaf motifs on the breastplate; large, articulated, equally engraved pauldrons; fully articulated silver arms and gauntlets; matching articulated greaves and pointed sabatons; black riveted chainmail; brown leather sword-belt with the arming sword sheathed ON HIS BACK, the hilt peeking out on the LEFT side; over his shoulders, a heavy black hooded wool cloak, textured, falling to his ankles. Colombian Latino man, 26 years old, 180 cm, defined athletic build, bodybuilder-fitness style with broad back. Does NOT control the face.
<<<image_3>>> (third image): NIKOLAZ'S REAL FACE — sole source of his facial features, 100% match, zero drift: angular, elongated male face with prominent cheekbones and a strongly defined jaw; very dark black hair, clean classic low taper fade on the sides, longer on top, styled forward into a messy, textured fringe covering much of the forehead; thick dark eyebrows; dark eyes with a direct, fixed, serious gaze, with faint dark circles; short trimmed beard and mustache connected around the mouth; very thin dark metal-framed glasses with square, round-edged lenses, modern style; neutral, serene, contemplative look.
<<<image_4>>> (fourth image): THE DRAGON — a WILD SEVEN-HEADED dragon, colossal and terrifying, 100% match with the reference.
<<<image_5>>> (fifth image, scale image): MANDATORY PROPORTION between the knight and the dragon — the size difference between the two must be reproduced EXACTLY as seen in this image: the knight, standing with sword in hand, is minuscule against the dragon's seven heads, which fill the upper half of the frame and dominate it completely. Use this image as a reference for framing, distance and relative scale, not as a reference for pose or armor color.
SHIELD — NEW ACCESSORY, LEFT HAND: Nikolaz carries a LARGE polished-steel SHIELD matching his armor, with the same floral and acanthus-leaf engraving as the breastplate, in a classic heraldic shape (straight top, base tapering to a soft point), held with his LEFT arm throughout the shot, resting slightly forward beside his body. His left hand NEVER lets go of the shield.
DRAGON ANATOMY — a single enormous, massive body, half-sunk in the fog, from which SEVEN long, thick, serpentine necks are born, each ending in its own head. The necks fan out at different heights: some low, almost at grass level, others arched high above. Body about 60 meters long, the tallest necks rising 12-15 meters above the field, each head over 4 meters long. Against 180 cm Nikolaz, the difference is absolute and must match <<<image_5>>>: he reaches no higher than the jaw of the lowest head; his whole body is smaller than a single one of those heads.
COLOR AND SCALES — deep crimson, blood red, with the seams darker, almost garnet; thousands of individual overlapping plates with keratin micro-relief: growth ridges, chipped edges, matte wear, fog moisture settled on top. MATTE, leathery finish, not plastic, not uniform gloss.
HORNS — STRICT COUNT RULE: THREE of the seven heads carry ONE PAIR of horns (two horns each) and the OTHER FOUR heads carry A SINGLE horn each. Horns dark, reddish-brown almost black, ridged and ringed, curving backward from the skull. 3 two-horned heads + 4 single-horned heads = 7 heads in total.
DIADEMS — each of the SEVEN heads wears its own DIADEM of worked old gold, fitted across the forehead between the horns: highly detailed gold filigree, set with red rubies and dark stones, the metal aged and dulled by use. The dragon is wild — the diadems are its own ornament, not tack. No saddle, no reins, no bridle, no straps.
HEADS AND FACE — angular, fiercely bony skulls, long muzzles; blazing red eyes with slit vertical pupils, a predatory gaze with nothing human in it; rows of dark spines and spiny frills running along the nape and down the necks. FIERCE, TERRIFYING AND INTIMIDATING expression at all times.
EMERGING FROM THE FOG — PRIMARY FEATURE: the dragon EMERGES from the fog progressively. At first only grey silhouettes can be guessed. The forms resolve one by one: first a neck, then a crimson head breaking through the wall and gaining color and texture. The rear heads never fully define and remain as shadows within the grey. The fog curls and tears around the horns as it advances.
THE THREE STEPS — CENTRAL MOVEMENT OF THE SCENE: the dragon advances in EXACTLY THREE STEPS, spaced out and colossal, one for each front claw that emerges from the fog and plants itself in the grass. EACH OF THE THREE STEPS produces two simultaneous, unmistakable effects: 1) the grass and ground around the claw SINK and TREMBLE visibly, shockwaves spreading across the field; 2) OUR FRAME, the camera lying in the grass, SHAKES with each footfall — a dry, noticeable tremor, as if the impact wave physically reached us, with the grass near the lens vibrating and the nearest blades bouncing slightly. The first step is the most restrained; the second, stronger; the third, the most violent of the three, leaving the dragon already completely dominating the upper half of the frame. The advance is slow, deliberate and unstoppable between steps — never a charge.
LIVING MASS — it breathes HEAVILY: the chest swelling and sinking like a tide, deep exhales stirring the fog in front of the seven muzzles. The heads move independently: one turns, tracking; another lowers, almost brushing the grass; another rises and scans.
FORMAT MODE
One continuous shot, 10 seconds, HORIZONTAL 16:9. NO CUTS OF ANY KIND from the first frame to the last — the initial tumble, the settling, the three steps, the sword draw, the awakening and the final roar must flow as a single uninterrupted camera movement, no fades, no internal cuts. THE CAMERA NEVER APPEARS AS AN OBJECT — no camera body or phone body, no screen, no external shot showing us: we are exclusively the point of view, the eyes of the scene.
CAMERA — THE LANDED VIEWPOINT
0:00-0:01.5 THE LANDING: we open mid-tumble, inheriting the spin of the previous shot — the grass RUSHES UP at us, IMPACT: a dry jolt, a bounce-flip, a smear of motion — and we SETTLE, tilted and low in the grass. The frame LOCKS, FOCUSING ON NIKOLAZ FROM BEHIND, small and distant in the field. A few blades lean over the bottom edge, slightly out of focus.
0:01.5 onward: locked ground-level wide shot, no cuts. Layers: near grass → open field → NIKOLAZ standing small, back to us → the SEVEN-HEADED DRAGON emerging from the fog behind him. The camera does NOT move on its own: it only trembles from the impact of the dragon's steps; the apparent approach is produced by the dragon itself advancing.
ACTION — 0:00-0:10
0:00-0:01.5 THE LANDING (described above). The wind settles; the grass ticks against the lens; in the background, the fog begins to move in a way that isn't fully understood yet.
0:01.5-0:04 WHAT COMES OUT OF THE FOG — FIRST AND SECOND STEP: Nikolaz stands, shield in his left hand, cloak billowing in the wind. The fog organizes itself: shadows that harden, necks that resolve, a crimson head breaking through the wall gaining color and the dull glint of its diadem. The dragon TAKES ITS FIRST STEP: a colossal claw emerges from the fog and plants itself in the grass — the ground trembles, a slight but clear tremor runs through our frame, the grass near the lens vibrates. A moment later, the SECOND STEP: closer, stronger, the shake in our image now unmistakable, the grass rippling in a circle around the claw.
0:04-0:06 THE SWORD DRAW AND THE THIRD STEP: as the dragon keeps emerging, Nikolaz's right hand rises over his left shoulder to the hilt peeking out at his back and DRAWS the sword — the long, bright, ringing SCRAPE of steel cuts through the silence of the field; his left hand keeps the shield firm against his body, the blade low in his right hand, his feet settling into a guard stance. In this same stretch the dragon's THIRD STEP lands — the most violent of the three — with a strong, dry jolt that runs through our entire frame, the grass near the lens bouncing with the impact. The dragon now dominates the upper half of the image.
0:06-0:07.5 THE SEVEN GAZES: at the ring of the steel, one after another, the heads FIND him. The red eyes open and the vertical pupils CONTRACT, locking on him; the heads rotate toward the same point. A deep rumble starts in the shared chest. The necks RISE above him, fog sliding off the scales, the spines unfolding row after row.
0:07.5-0:10 THE ROAR: the seven necks rear up to full height, the JAWS PART completely and ROAR AT ONCE: a physical wall of sound in seven out-of-phase voices. The blast flattens a radius of grass in an expanding ring, tears the fog into shreds, whips Nikolaz's cloak and hair backward (he plants his feet, shield raised in his left hand, sword ready in his right, without retreating) — and reaches US: the frame SHAKES violently, the grass flattens over the lens, and we are TORN off the ground and hurled backward in one continuous movement, the world blurring into a final spin. The video ends inside the roar, no cut, mid-flight.
PHYSICS
Our landing: real deceleration of a thrown camera — first hard impact with a frame of blurred jolt, a bounce-flip, a skidding settle; the grass reacting where we land.
The dragon: movement true to its mass at 60-meter scale — each of the three steps with real inertia, the claw sinking into the earth, the impact propagating as a visible wave in the grass and as a physical jolt in our own frame; necks that move like living cranes; seven independent heads sharing one body and one breath; the final roar producing a real pressure wave that finally tears us off the ground.
Nikolaz: real resistance against the tremor of each step and the final blast — shield firm in his left hand, sword firm in his right, cloak snapping, one step absorbed, the armor creaking. Sword draw with authentic steel-on-scabbard friction and ring.
LIGHTING
Flat, soft, shadowless overcast-fog light, per <<<image_1>>>: cool grey-white, no sun, no marked light direction. The dragon's crimson as the only strong color in the frame; the dull gold of the diadems and the red of the rubies with soft reflections; Nikolaz's armor and shield with dull sky reflections. Natural exposure, real, muted colors except for the dragon's red.
AUDIO
The landing: a dry thud, grass scrape, a settling tick. Then the silence of the field: wind, grass hiss and the dragon's colossal breathing. THE THREE STEPS: three deep, dull impacts, each louder than the last, with a sub-bass thump felt in each one and grass crushing under the claw. The sword: a long, bright SCHIIING of steel hanging in the fog. The dragon's attention: a rumble growing in the chest, the creak of an enormous mass shifting. The final ROAR: overwhelming, layered — sub-bass punch, tearing mids, a metallic shriek at the top, seven voices entering out of phase until they merge into a single wall — with the blast noise hitting the mic, the grass thrashing, and the whistle of our final flight. No music, no dialogue, no subtitles.
POSITIVE CONSTRAINTS
A single continuous shot from beginning to end — ZERO CUTS, not even a cut to black: the landing, the three steps, the sword draw, the awakening and the roar are one uninterrupted movement. WE ARE ALWAYS THE CAMERA AND NEVER AN OBJECT: there is never an external shot of anything representing us, no phone, no body, no screen — only the point of view.
The opening inherits the motion of the previous clip: we arrive already spinning, land, bounce once and settle, focusing on Nikolaz from behind — and we hold that locked ground-level angle, trembling only with each of the dragon's steps and with the final roar, until it tears us away.
EXACTLY THREE STEPS: not two, not four. Each step must read clearly as its own event, with its own ground tremor and its own camera shake, in a progression from least to greatest intensity.
SHIELD AND SWORD: large shield in the LEFT hand for the entire shot, never let go; sword sheathed on his back, drawn by the RIGHT hand in the 0:04-0:06 stretch.
EXACTLY SEVEN HEADS: not six, not eight. THREE heads with a pair of horns, FOUR heads with a single horn. A gold diadem with rubies on each of the seven. A single body from which the seven necks are born.
THE DRAGON EMERGES FROM THE FOG AND ADVANCES in three defined steps: it starts as barely hinted silhouettes, gradually materializes and approaches with slow, heavy, intimidating steps. The rear heads never fully define and remain inside the grey.
THE DRAGON IS WILD: no saddle, no reins, no bridle, no straps — only bare scales and the diadems. It never attacks Nikolaz, never breathes fire, never reaches him — it only advances, looks at him, raises its necks and roars.
FIERCE, TERRIFYING AND INTIMIDATING at all times: nothing noble, friendly, curious or domesticated in its expression.
MANDATORY SCALE, IDENTICAL TO <<<image_5>>>: he is minuscule against the dragon — smaller than a single one of its heads; the size difference reads in every frame and grows with each of the three steps.
Nikolaz: calm and self-assured at all times — holds the shield firmly, draws the sword deliberately, does not retreat a single step while the dragon advances and the ground shakes; natural blinks and visible breathing; never looks at the camera; no smiles, no fear.
Face 100% <<<image_3>>>, zero drift; wardrobe, armor, shield and sword on his back 100% <<<image_2>>>; dragon 100% <<<image_4>>> with the exact horn split and the seven diadems; location 100% <<<image_1>>> with living wind and fog; scale proportion 100% <<<image_5>>>.
NO other people visible. NO other creatures. Only him, the field, the fog and the dragon.
Full realism: real skin, real steel, real keratin on scales and horns, real aged gold, real grass and fog physics — no animated look, no CGI sheen, no plastic surfaces. Clean image: no grain, no vignette. No text, no logos, no watermarks.
OPTICS
Crisp wide digital image, deep focus, natural clarity — NOT anamorphic, NO cinematic bokeh. Ground-level perspective with the near grass blades soft at the bottom edge of the frame; he and the dragon's front heads sharp in the depth of the field; the fog handling the far falloff. Motion blur only from real movement: the landing tumble, the three shakes of the dragon's steps and the final blast that tears us away.