明亮臥室中的年輕女子聞著鞋子，並對著飛出的鞋子踢出側踢，Seedance 2.5 提示詞

提示詞

格式
10 秒，2 個鏡頭。
鏡頭 1：室內臥室，0.0–5.0 秒。
鏡頭 2：室外夜間街道，5.0–10.0 秒。
轉場：在鞋子撞擊的精確瞬間進行無縫硬切。
風格：照片級寫實真人實拍、高級電影感廣告、真實的動作/物理效果、真實自然的手持攝影。

鏡頭 1 — 室內臥室 | 0.0–5.0 秒

環境
年輕女性 @[Image 1](image_1) 在日光下的極簡私人臥室；乾淨、現代、私密，自然呈現居住感。Sharon 身後數公尺處有一大片窗簾，更後方是簡單的書桌/置物桌，只有少量個人物品和低調裝飾。具有足夠景深以分離主體。背景柔和地失焦；Sharon 保持清晰、容易辨識。

攝影機 / 燈光
與視線等高的手持攝影，中廣角/全身取景，為橫向移動和鞋子動作保留空間，中度淺景深。柔和自然的日光、自然膚色、柔和高光、輕柔寫實的陰影、溫暖乾淨的氛圍。
攝影機與 Sharon 一起實際移動：橫向跟拍、短暫推近、反應式拉遠、快速平移、傾斜和重新構圖。絕不完美平滑或自動化；移動快速、輕盈、不完美，並由她的動作產生真實的物理反應。

動作 + 攝影機
0.0–1.1 秒 — Sharon 從右側進入，手持兩隻鞋，每隻手各一隻，朝中央走去。
攝影機：手持向左橫向跟拍，攝影師實際側身走動，同時保持中廣角取景。

1.1–1.8 秒 — Sharon @[Image 1](image_1) 在接近中央的位置停下，將一隻鞋朝攝影機舉起，像是在展示它，接著將鞋靠近鼻子。
攝影機：手持短暫推近；保持臉部和鞋子清晰。

1.8–2.4 秒 — Sharon 聞鞋子，立即露出驚訝的厭惡反應並向後退縮，將臉移開，短促地搖頭。
攝影機：小幅反應式拉遠，接著立即穩定朝向她的臉。

2.4–3.0 秒 — Sharon 隨意地將第一隻鞋朝房間一側扔去。
攝影機：快速反應式平移，短暫跟隨鞋子，接著快速轉回 Sinta；保有可信的手持攝影不完美感。

3.0–3.8 秒 — Sharon 向側面移動，專注於第二隻鞋，並將它垂直向上扔起。
攝影機：向上傾斜跟隨鞋子；當鞋子抵達運動軌跡頂點時，快速向下傾回 Sinta，同時持續注意她和正在下落的鞋子。

3.8–4.4 秒 — Sharon 用眼睛追蹤下落的鞋子，調整腳步，稍微轉向側面，準備一記高位側踢。
攝影機：手持短暫橫向調整，讓身體和下落的鞋子都保持在畫面中；可自然地逐漸形成細微的荷蘭式傾斜。

4.4–5.0 秒 — 鞋子落入踢擊範圍。Sharon 施展快速、精準的高位側踢：腿部俐落地向側面伸展，軀幹稍微旋轉，支撐腿穩固踩地，雙臂自然地保持平衡，雙眼鎖定鞋子。全程維持即時速度。
攝影機：手持快速橫向重新定位，並反應式平移跟隨踢擊；畫面因動作力量而短暫偏移。

精確匹配剪接 — 5.0 秒
在 Sharon 伸直的腳接觸飛行中的鞋子的精確瞬間進行硬切。踢擊仍以全速進行，剪接發生在動作進行之中。室外鏡頭延續相同的身體方向、腿部伸展、軀幹旋轉和動量。

鏡頭 2 — 夜間 / 安靜的城市街道 | 5.0–10.0 秒

環境
夜晚相對安靜的現代都市街道，具有寬闊的鋪裝道路、路燈、零散的店面、發光窗戶、樹木、招牌和遠處建築，形成多層次的實景光源。遠處車流稀疏。空曠、電影感、安靜。
一輛白色運動機車位於 Sinta 身後，並稍微偏向畫面一側，不是直接置中於她身後。開放的街道從 Sharon 通往機車，形成清楚的對角線路徑。

燈光 / 服裝
自然主義夜間燈光：溫暖的路燈混合較冷的城市環境光，黑色騎行服上有寫實高光，白色機車和柏油路面上有自然反射，搭配寫實曝光的電影感對比。
Sharon 穿著協調的黑白機車騎行套裝：合身黑色賽車外套，肩部/袖子帶有簡潔白色拼接；合身黑色短款騎行褲，帶有低調白色細節；緊湊型黑色膝部/脛部護具；帶有小型白色點綴的黑色機車手套；乾淨的白色低筒運動鞋；白色中筒襪，高度至小腿中段；自然披散的頭髮；不戴安全帽。
機車：白色運動機車。

攝影機
手持動態電影攝影。攝影師透過對角線跟拍、短暫弧形移動、反應式平移、輕微推近和快速重新構圖，實際跟隨 Sharon。絕不是完美編程的路徑；攝影機會對她不斷改變的身體方向做出反應。

動作 + 攝影機
5.0–5.5 秒 — 硬切。Sharon 出現在室外，延續室內的側踢：踢出的腿伸直，軀幹旋轉，動量持續。白色運動機車在她身後偏向一側的位置部分可見。攝影機立即做出反應。
攝影機：快速手持平移/重新構圖，捕捉持續的踢擊軌跡。

5.5–6.3 秒 — Sharon 自然地放下踢出的腿，沒有停下。她朝機車穿越畫面進行對角線移動，沿著向前的對角線前進，而不是筆直向後/向側面移動；在移動過程中逐漸將軀幹和臀部轉向機車。
攝影機：手持對角線跟拍，結合輕微向前跟拍和橫向位移；讓 Sharon 保持主體地位，同時讓機車在畫面一側持續可見。

6.3–7.2 秒 — Sharon 持續進行對角線移動；身體逐步轉向機車。這是一個移動中的對角線轉身，不是原地轉身。雙腳持續帶動她向前，軀幹則同步旋轉。
攝影機：持續對角線跟拍，同時讓手持攝影機繞 Sharon 做短暫弧形移動；稍微改變角度並細微平移，使她保持在中央；機車在畫面一側部分可見。

7.2–8.0 秒 — 開始慢動作。Sharon 已經處於朝機車進行對角線移動的中段。身體持續進行對角線旋轉；披散的頭髮自然揮動；外套隨旋轉而移動；動作變得優雅且具有電影感。
攝影機：略微更平滑的手持攝影質感，結合細微手持推近和短暫弧形移動；保持實際的近距離；機車持續在畫面一側可見。

8.0–8.4 秒 — 逐漸恢復正常速度。Sharon 完成對角線轉身，現在更直接地面向機車。
攝影機：正常手持移動；快速重新構圖，讓 Sharon 和機車在視覺上保持連結。

8.4–10.0 秒 — Sharon 自信地朝白色運動機車走去，目標明確且充滿活力。機車保持稍微偏離中央的位置。攝影機：手持向前跟拍，維持中廣角取景，輕微推近，接著在 Sharon 抵達機車時向機車進行小幅反應式平移。結尾時 Sharon 緊鄰機車。

速度優先順序
0.0–5.0 秒：全程即時速度；扔鞋和高位側踢都要快速；在全速撞擊瞬間進行匹配剪接。
5.0–7.2 秒：剪接後立即恢復全程即時速度。
7.2–8.0 秒：只在朝機車進行對角線身體旋轉期間使用細微慢動作。
8.0–10.0 秒：正常即時速度。

匹配剪接優先順序
在撞擊的精確瞬間剪接。剪接前後保留：腿部伸展、軀幹旋轉、身體方向、移動方向、畫面位置和連續的物理動量。地點、時間、燈光、服裝和機車都可以透過硬切完全改變。轉場必須讓人感覺即時、具物理感、時尚且無縫。 #DomoAI #DomoAICPP

FORMAT
10 seconds, 2 shots.
Shot 1: Indoor bedroom, 0.0–5.0s.
Shot 2: Outdoor night street, 5.0–10.0s.
Transition: seamless hard cut exactly on shoe impact.
Style: photorealistic live-action, premium cinematic commercial, realistic movement/physics, authentic handheld cinematography.

SHOT 1 — INDOOR BEDROOM | 0.0–5.0s

ENVIRONMENT
Minimalist young woman's @[Image 1](image_1) private bedroom in daylight; clean, modern, intimate, naturally lived-in. Large curtain several meters behind Sharon, simple desk/console farther behind, minimal personal objects and subtle decoration. Enough depth for subject separation. Background softly out of focus; Sharon remains sharp and readable.

CAMERA / LIGHTING
Eye-level handheld, medium-wide/full-body framing with room for lateral movement and shoe actions, moderate shallow depth of field. Soft natural daylight, natural skin tones, soft highlights, gentle realistic shadows, warm clean atmosphere.
Camera is operated physically with Sharon: lateral tracking, short push-in, reactive pull-back, quick pans, tilts and reframing. Never perfectly smooth or automated; movement is quick, light, imperfect and physically motivated by her actions.

ACTION + CAMERA
0.0–1.1s — Sharon enters from RIGHT holding TWO SHOES, one in each hand, and walks toward center.
Camera: handheld lateral tracking LEFT, physically stepping sideways while keeping medium-wide framing.

1.1–1.8s — Sharon @[Image 1](image_1) stops near center, raises one shoe toward camera as if showing it, then brings it toward her nose.
Camera: short handheld push-in; keep face and shoe sharp.

1.8–2.4s — Sharon smells the shoe, immediately recoils with surprised disgust, pulls her face away and gives a short head shake.
Camera: small reactive pull-back, then immediately settle toward her face.

2.4–3.0s — Sharon casually throws the first shoe toward the side of the room.
Camera: quick reactive pan following the shoe briefly, then fast pan back to Sinta; believable handheld imperfection.

3.0–3.8s — Sharon shifts sideways, focuses on the second shoe, and throws it vertically upward.
Camera: tilt up following the shoe; as it reaches the top of its trajectory, quickly tilt back down toward Sinta while keeping awareness of her and the descending shoe.

3.8–4.4s — Sharon tracks the descending shoe with her eyes, adjusts footing, rotates slightly sideways and prepares a high side kick.
Camera: short lateral handheld adjustment keeping body and falling shoe in frame; subtle natural Dutch tilt may develop.

4.4–5.0s — Shoe descends into kicking range. Sharon performs a fast, precise HIGH SIDE KICK: leg extends sharply sideways, torso rotates slightly, supporting leg grounded, arms naturally counterbalance, eyes locked on the shoe. Full real-time.
Camera: quick handheld lateral reposition and reactive pan following the kick; frame momentarily shifts with the force.

EXACT MATCH CUT — 5.0s
Hard cut at the exact moment Sharons extended foot contacts the airborne shoe. The kick is still at full speed and the cut happens DURING the action. Outdoor shot continues the same body direction, leg extension, torso rotation and momentum.

SHOT 2 — NIGHT / QUIET CITY STREET | 5.0–10.0s

ENVIRONMENT
Relatively quiet modern urban street at night with broad paved roadway, streetlights, scattered storefronts, illuminated windows, trees, signage and distant buildings creating layered practical lighting. Sparse distant traffic. Spacious, cinematic, quiet.
A WHITE SPORT MOTORCYCLE is behind Sinta and slightly toward one SIDE of frame, not centered directly behind her. Open street creates a clear diagonal path from Sharon to the motorcycle.

LIGHTING / OUTFIT
Naturalistic night lighting: warm streetlights mixed with cooler ambient city illumination, realistic highlights on black riding outfit, natural reflections on white motorcycle and asphalt, cinematic contrast with realistic exposure.
Sharon wears a coordinated black-and-white motorcycle riding set: fitted black racing jacket with clean white shoulder/sleeve panels; fitted black short riding pants with subtle white detailing; compact black knee/shin protection; black motorcycle gloves with small white accents; clean white low-top sport sneakers; white crew socks to mid-calf; loose natural hair; no helmet.
Motorcycle: white sport motorcycle.

CAMERA
Handheld kinetic cinematography. Operator physically follows Sharon using diagonal tracking, short arc movement, reactive panning, slight push-in and quick reframing. Never a perfectly programmed path; camera reacts to her changing body direction.

ACTION + CAMERA
5.0–5.5s — HARD CUT. Sharon appears outdoors continuing the indoor side kick: kicking leg extended, torso rotated, momentum continuing. White sport motorcycle partially visible behind her toward one side. Camera immediately reacts.
Camera: quick handheld pan/reframe catching the continuing kick trajectory.

5.5–6.3s — Sharon lowers her kicking leg naturally and does not stop. She moves DIAGONALLY across frame toward the motorcycle, forward-diagonal rather than straight backward/sideways, gradually turning torso and hips toward it while moving.
Camera: handheld diagonal tracking with slight forward tracking plus lateral shift; keep Sharon dominant while motorcycle remains visible near the side.

6.3–7.2s — Sharon continues diagonally; body progressively rotates toward motorcycle. This is a traveling diagonal turn, NOT a stationary turn-in-place. Feet keep carrying her forward while torso rotates.
Camera: short handheld arc around Sharon while continuing diagonal tracking; slight angle change and subtle pan to keep her centered; motorcycle remains partially visible at the side.

7.2–8.0s — SLOW MOTION BEGINS. Sharon is already mid-diagonal movement toward motorcycle. Body continues diagonal rotation; loose hair swings naturally; jacket moves with rotation; movement becomes elegant and cinematic.
Camera: slightly smoother handheld character, subtle handheld push-in combined with short arc; stay physically close; motorcycle remains visible toward the side.

8.0–8.4s — Gradually return to normal speed. Sharon completes diagonal rotation and now faces motorcycle more directly.
Camera: normal handheld movement; quick reframing keeps Sharon and motorcycle visually connected.

8.4–10.0s — Sharon moves confidently toward the white sport motorcycle, purposeful and energetic. Motorcycle stays slightly off-center. Camera: handheld forward tracking, maintaining medium-wide framing, subtle push-in, then small reactive pan toward motorcycle as Sharon reaches it. End with Sharon immediately beside the motorcycle.

SPEED PRIORITY
0.0–5.0s: full real-time; shoe throw and high side kick are fast; match cut at full-speed impact.
5.0–7.2s: full real-time immediately after cut.
7.2–8.0s: subtle slow motion only during diagonal body rotation toward motorcycle.
8.0–10.0s: normal real-time.

MATCH CUT PRIORITY
Cut exactly on impact. Preserve across the cut: leg extension, torso rotation, body orientation, movement direction, screen position and continuous physical momentum. Location, time of day, lighting, wardrobe and motorcycle may change entirely through the hard cut. The transition must feel instantaneous, physical, stylish and seamless. #DomoAI #DomoAICPP