REFERENCE ROLES — PAIRINGS ARE FIXED

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分享者	@さゆり\|アニメ声クリエイター🎤
模型	Seedance 2.5
分类	REFERENCE ROLES — PAIRINGS ARE FIXED @Image1 — QUEEN OF HEARTS. @Image5 — KING OF HEARTS. They dance together. HEARTS pair. @Image2 — QUEEN OF DIAMONDS. @Image6 — KING OF DIAMONDS. They dance together. DIAMONDS pair. DO NOT render the letter or suit mark printed in the upper-left corner of @Image2 — appearance and setting only, no lettering. @Image3 — QUEEN OF CLUBS. @Image7 — KING OF CLUBS. They dance together. CLUBS pair. @Image4 — QUEEN OF SPADES. @Image8 — KING OF SPADES. They dance together. SPADES pair. Each king dances ONLY with the queen of his own suit. Never pair across suits. Never let one suit's colours appear on another suit's costume. IDENTITY LOCK Preserve each of the eight figures EXACTLY as in their reference image: same face shape, same eye shape and colour, same hair colour and hairstyle, same crown, same costume colours, same jewellery, same proportions. Do NOT redesign, do NOT blend one character's features into another, do NOT enlarge the eyes into a different cartoon style. Quick identity keys — HEARTS QUEEN @Image1: long wavy dark-brown hair, red-amber eyes, gold heart tiara, crimson and gold gown, red veil. HEARTS KING @Image5: crimson red hair, amber eyes, gold crown with red hearts, red and gold robe with white fur. DIAMONDS QUEEN @Image2: pale ash-blonde upswept hair, blue eyes, crystal spike crown, white crystal gown with gold lattice. DIAMONDS KING @Image6: short pale blonde hair, blue eyes, gold and crystal crown, white and gold robe with white fur. CLUBS QUEEN @Image3: long curly chestnut hair, green eyes, gold clover tiara, deep green and white gown. CLUBS KING @Image7: brown hair, green eyes, gold clover crown, deep green and gold cape with white fur. SPADES QUEEN @Image4: long straight black hair, violet eyes, silver spade crown, black lace gown, black lace gloves. SPADES KING @Image8: short black hair, violet eyes, dark silver spade crown, black robe with silver chains. CRITICAL IDENTITY LOCK: exaggeration applies ONLY to expression and pose, never to face structure, eye shape, hair, or costume design. Atmospheric effects NEVER alter a face, a hand, or a costume — light and particles pass in FRONT of the figures and behind them, never dissolving them. ONE-FACE RULE — MOST IMPORTANT In every shot except the final one, only ONE character's face is clearly visible. The partner is turned away, seen from behind, seen over the shoulder, backlit into silhouette, or blurred by their own turn. The two faces of a pair NEVER appear sharp in the same frame, never overlap, and always have a clear gap between them. BALLROOM DANCE RULE — READ AS REAL DANCING Every pair holds a proper closed ballroom frame: the king's right hand on the queen's shoulder blade, his left hand clasping her right hand out to the side, both elbows lifted and held, spines tall, heads turned slightly left over their own left shoulders, a clear formal distance between their bodies at all times. LEAD AND FOLLOW must be visible: the king initiates every movement and the queen answers it. He presses and she travels; he draws his hand back and she returns into the frame; he raises his clasped hand and she passes beneath it. Never let the two move as independent people who happen to be near each other. Each suit dances a DIFFERENT ballroom style, so no two sections move alike: HEARTS = WALTZ. Sweeping rise and fall, the whole body lifting on the count and lowering, long gliding travel, the gown swinging like a bell. DIAMONDS = TANGO. Sharp staccato steps, sudden freezes held dead still, crisp head snaps, low flat travel with no rise, a hard closing action. CLUBS = QUICKSTEP. Light, springing, running steps, hops and skips, fast travel across the floor, buoyant and joyful. SPADES = RUMBA. Slow deliberate weight transfers, hips settling, a long still balance, one slow controlled extension of the arm. CAMERA HEIGHT RULE — THE VERTICAL AXIS IS THE POINT This is a 9:16 vertical film and the camera must live on the vertical axis. Every shot changes its HEIGHT as well as its position: the camera climbs, plunges, rises with the dancers or drops beneath them. Never two consecutive shots at the same height. Never a shot that stays on one level for its whole duration. Heights run from floor level between the dancers' feet up to a true overhead top-down view of the ballroom floor. ATMOSPHERE RULE — LIGHT, SHADOW, WIND Three atmospheric layers run through the entire film. They are the same three everywhere; only their colour changes per world. Do not add other effects. 1. VOLUMETRIC LIGHT SHAFTS. One or two strong god rays cut through every space at a steep angle, made visible by the drifting particles that pass through them. Figures cross in and out of these shafts as they dance, brightening as they enter and dimming as they leave. 2. CAST SHADOWS ON THE FLOOR. Every dancer throws a long sharp shadow across the floor, and those shadows sweep and turn with the dance. Shadows are a visible part of the choreography, especially in overhead views where the turning shadows read as moving shapes on the parquet. 3. WIND THROUGH FABRIC. A steady current lifts veils, capes, lace and skirt layers so cloth trails and billows behind every movement. The wind moves cloth and loose particles ONLY — it never distorts a body, a face, or a hand. Particles are always a MASS of many small elements, never one large object. Keep particles sparse enough that faces and hands stay fully readable at all times. STYLE Stylized 2.5D aesthetic, photorealistic high-detail 2.5D CG, painterly rendering, soft cel shading on the faces, opulent ornate detail, rich fabric and gemstone specular highlights, soft bloom, gentle lens flare, 35mm grain, 24fps, 9:16 vertical. All eight figures are adults in their twenties in formal regal ballroom attire. Everyone moves with flowing controlled grace, never stiff. Natural human motion, no warping. CONTINUOUS-FLOW RULE The camera never stops and never rests. Each world change happens while a foreground element fills the frame; the camera's travel and its vertical direction continue through the seam without repositioning. Camera cut 1 (0:00-0:03): floor-level camera rising fast. 0:00-0:01: the camera lies at FLOOR LEVEL, lens almost touching the parquet, looking up as the crimson hem of @Image1 QUEEN OF HEARTS sweeps directly over the lens. A warm gold shaft of light rakes across the floor toward the lens, thick with drifting rose petals and gold dust. Bright frame from frame zero. 0:01-0:03: the camera rises fast from the floor to standing height as @Image5 KING OF HEARTS presses her into a sweeping waltz travel — his frame lifting on the rise, her gown swinging out like a bell, her red veil streaming behind her in the moving air. Their long shadows sweep across the lit parquet beneath them. Her face arrives into frame at the top of the rise, proud, chin lifted, catching the light shaft. His back is to us. ONE-FACE: only the Queen of Hearts' face is visible. HEARTS pair only. Cut to SHOT 2 (0:03-0:07): crane climbing to the chandelier. The camera keeps climbing, leaving the floor entirely, rising past gilded arches toward a great chandelier while @Image5 KING OF HEARTS leads @Image1 QUEEN OF HEARTS through a long waltz sweep across the rose-strewn hall far below. The camera ends looking steeply DOWN at them, and from this height their two shadows are seen turning together across the floor as one shape. Warm god rays fall in from tall windows and cross the whole hall; a mass of rose petals lifts on the wind and spirals up through the beams toward the camera. Blurred silhouettes of guests line the walls, soft blurred, no detailed faces. SEAM at 0:07: a rose-covered gilded column rushes up past the lens and fills the frame. Cut to SHOT 3 (0:07-0:10): plunging descent, then a hard stop. The frame opens out of the dark column into a cold prismatic crystal corridor — warm gold to brilliant white. The camera PLUNGES from ceiling height straight down between towering faceted pillars and levels out at chest height directly in front of @Image6 KING OF DIAMONDS, arriving exactly as he snaps into a tango freeze — dead still, head sharply turned, face toward the lens, cold and precise. @Image2 QUEEN OF DIAMONDS is a bright backlit silhouette held motionless in his frame, features not visible. Hard white light shafts rake down between the pillars and refract into fans of colour across the floor; a mass of fine glittering dust hangs in the beams. Their shadows lie long and sharp across the polished floor and stop dead when they stop. The
数据集	renoise-ai · awesome-seedance-2-5-prompts

完整提示词

REFERENCE ROLES — PAIRINGS ARE FIXED
@Image1 — QUEEN OF HEARTS. @Image5 — KING OF HEARTS. They dance together. HEARTS pair.
@Image2 — QUEEN OF DIAMONDS. @Image6 — KING OF DIAMONDS. They dance together. DIAMONDS pair.
DO NOT render the letter or suit mark printed in the upper-left corner of @Image2 — appearance and setting only, no lettering.
@Image3 — QUEEN OF CLUBS. @Image7 — KING OF CLUBS. They dance together. CLUBS pair.
@Image4 — QUEEN OF SPADES. @Image8 — KING OF SPADES. They dance together. SPADES pair.
Each king dances ONLY with the queen of his own suit. Never pair across suits. Never let one suit's colours appear on another suit's costume.

IDENTITY LOCK
Preserve each of the eight figures EXACTLY as in their reference image: same face shape, same eye shape and colour, same hair colour and hairstyle, same crown, same costume colours, same jewellery, same proportions. Do NOT redesign, do NOT blend one character's features into another, do NOT enlarge the eyes into a different cartoon style.
Quick identity keys — HEARTS QUEEN @Image1: long wavy dark-brown hair, red-amber eyes, gold heart tiara, crimson and gold gown, red veil. HEARTS KING @Image5: crimson red hair, amber eyes, gold crown with red hearts, red and gold robe with white fur. DIAMONDS QUEEN @Image2: pale ash-blonde upswept hair, blue eyes, crystal spike crown, white crystal gown with gold lattice. DIAMONDS KING @Image6: short pale blonde hair, blue eyes, gold and crystal crown, white and gold robe with white fur. CLUBS QUEEN @Image3: long curly chestnut hair, green eyes, gold clover tiara, deep green and white gown. CLUBS KING @Image7: brown hair, green eyes, gold clover crown, deep green and gold cape with white fur. SPADES QUEEN @Image4: long straight black hair, violet eyes, silver spade crown, black lace gown, black lace gloves. SPADES KING @Image8: short black hair, violet eyes, dark silver spade crown, black robe with silver chains.
CRITICAL IDENTITY LOCK: exaggeration applies ONLY to expression and pose, never to face structure, eye shape, hair, or costume design. Atmospheric effects NEVER alter a face, a hand, or a costume — light and particles pass in FRONT of the figures and behind them, never dissolving them.

ONE-FACE RULE — MOST IMPORTANT
In every shot except the final one, only ONE character's face is clearly visible. The partner is turned away, seen from behind, seen over the shoulder, backlit into silhouette, or blurred by their own turn. The two faces of a pair NEVER appear sharp in the same frame, never overlap, and always have a clear gap between them.

BALLROOM DANCE RULE — READ AS REAL DANCING
Every pair holds a proper closed ballroom frame: the king's right hand on the queen's shoulder blade, his left hand clasping her right hand out to the side, both elbows lifted and held, spines tall, heads turned slightly left over their own left shoulders, a clear formal distance between their bodies at all times.
LEAD AND FOLLOW must be visible: the king initiates every movement and the queen answers it. He presses and she travels; he draws his hand back and she returns into the frame; he raises his clasped hand and she passes beneath it. Never let the two move as independent people who happen to be near each other.
Each suit dances a DIFFERENT ballroom style, so no two sections move alike:
HEARTS = WALTZ. Sweeping rise and fall, the whole body lifting on the count and lowering, long gliding travel, the gown swinging like a bell.
DIAMONDS = TANGO. Sharp staccato steps, sudden freezes held dead still, crisp head snaps, low flat travel with no rise, a hard closing action.
CLUBS = QUICKSTEP. Light, springing, running steps, hops and skips, fast travel across the floor, buoyant and joyful.
SPADES = RUMBA. Slow deliberate weight transfers, hips settling, a long still balance, one slow controlled extension of the arm.

CAMERA HEIGHT RULE — THE VERTICAL AXIS IS THE POINT
This is a 9:16 vertical film and the camera must live on the vertical axis. Every shot changes its HEIGHT as well as its position: the camera climbs, plunges, rises with the dancers or drops beneath them. Never two consecutive shots at the same height. Never a shot that stays on one level for its whole duration. Heights run from floor level between the dancers' feet up to a true overhead top-down view of the ballroom floor.

ATMOSPHERE RULE — LIGHT, SHADOW, WIND
Three atmospheric layers run through the entire film. They are the same three everywhere; only their colour changes per world. Do not add other effects.
1. VOLUMETRIC LIGHT SHAFTS. One or two strong god rays cut through every space at a steep angle, made visible by the drifting particles that pass through them. Figures cross in and out of these shafts as they dance, brightening as they enter and dimming as they leave.
2. CAST SHADOWS ON THE FLOOR. Every dancer throws a long sharp shadow across the floor, and those shadows sweep and turn with the dance. Shadows are a visible part of the choreography, especially in overhead views where the turning shadows read as moving shapes on the parquet.
3. WIND THROUGH FABRIC. A steady current lifts veils, capes, lace and skirt layers so cloth trails and billows behind every movement. The wind moves cloth and loose particles ONLY — it never distorts a body, a face, or a hand.
Particles are always a MASS of many small elements, never one large object. Keep particles sparse enough that faces and hands stay fully readable at all times.

STYLE
Stylized 2.5D aesthetic, photorealistic high-detail 2.5D CG, painterly rendering, soft cel shading on the faces, opulent ornate detail, rich fabric and gemstone specular highlights, soft bloom, gentle lens flare, 35mm grain, 24fps, 9:16 vertical.
All eight figures are adults in their twenties in formal regal ballroom attire. Everyone moves with flowing controlled grace, never stiff. Natural human motion, no warping.

CONTINUOUS-FLOW RULE
The camera never stops and never rests. Each world change happens while a foreground element fills the frame; the camera's travel and its vertical direction continue through the seam without repositioning.

Camera cut 1 (0:00-0:03): floor-level camera rising fast.
0:00-0:01: the camera lies at FLOOR LEVEL, lens almost touching the parquet, looking up as the crimson hem of @Image1 QUEEN OF HEARTS sweeps directly over the lens. A warm gold shaft of light rakes across the floor toward the lens, thick with drifting rose petals and gold dust. Bright frame from frame zero.
0:01-0:03: the camera rises fast from the floor to standing height as @Image5 KING OF HEARTS presses her into a sweeping waltz travel — his frame lifting on the rise, her gown swinging out like a bell, her red veil streaming behind her in the moving air. Their long shadows sweep across the lit parquet beneath them. Her face arrives into frame at the top of the rise, proud, chin lifted, catching the light shaft. His back is to us.
ONE-FACE: only the Queen of Hearts' face is visible. HEARTS pair only.

Cut to SHOT 2 (0:03-0:07): crane climbing to the chandelier.
The camera keeps climbing, leaving the floor entirely, rising past gilded arches toward a great chandelier while @Image5 KING OF HEARTS leads @Image1 QUEEN OF HEARTS through a long waltz sweep across the rose-strewn hall far below. The camera ends looking steeply DOWN at them, and from this height their two shadows are seen turning together across the floor as one shape. Warm god rays fall in from tall windows and cross the whole hall; a mass of rose petals lifts on the wind and spirals up through the beams toward the camera. Blurred silhouettes of guests line the walls, soft blurred, no detailed faces.
SEAM at 0:07: a rose-covered gilded column rushes up past the lens and fills the frame.

Cut to SHOT 3 (0:07-0:10): plunging descent, then a hard stop.
The frame opens out of the dark column into a cold prismatic crystal corridor — warm gold to brilliant white. The camera PLUNGES from ceiling height straight down between towering faceted pillars and levels out at chest height directly in front of @Image6 KING OF DIAMONDS, arriving exactly as he snaps into a tango freeze — dead still, head sharply turned, face toward the lens, cold and precise. @Image2 QUEEN OF DIAMONDS is a bright backlit silhouette held motionless in his frame, features not visible.
Hard white light shafts rake down between the pillars and refract into fans of colour across the floor; a mass of fine glittering dust hangs in the beams. Their shadows lie long and sharp across the polished floor and stop dead when they stop.
The

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