Seedance 2.5 prompt [GENERATION GOAL] Create a polished 30-second, 16:9 YouTube martial-arts tut...

Seedance 2.5 NEXUS_TO_NOVA Mon Aug 17 16:19:00 +0000 2026

Seedance 2.5 prompt

[GENERATION GOAL]

Create a polished 30-second, 16:9 YouTube martial-arts tutorial in English.

One experienced Chinese Wing Chun master introduces himself, then demonstrates eight clearly named movements drawn from the Siu Nim Tao curriculum, counted as 108 movements in some Wing Chun schools.

The purpose is to teach AI filmmakers which exact technique names to write in their prompts instead of requesting vague “Kung Fu movements.”

The video must feel professionally directed and edited: clean coverage, readable body mechanics, synchronized speech, motivated cuts and no random martial-arts gestures.

[PRESENTER]

Exactly one Chinese Wing Chun master, approximately 50 years old, lean and composed.

He wears an ivory-white traditional Chinese tunic, black trousers and black cloth shoes.

Maintain the same face, body, costume and voice throughout.

His English is clear, natural and conversational, with a light Hong Kong accent. His delivery is confident but not theatrical.

He demonstrates every technique from a stable Wing Chun stance with relaxed shoulders, elbows controlling the centerline and physically credible wrist alignment.

[LOCATION AND VISUAL STYLE]

Film inside a real traditional Wing Chun training hall, not a white background.

Dark timber walls, stone floor, soft daylight through wooden windows and a wooden dummy visible in the distant background. Keep the training area around the master uncluttered.

Use professional YouTube lighting: soft frontal key light, gentle side contrast and subtle warm practical lights in the background.

Natural skin, realistic fabric, restrained cinematic contrast and crisp instructional visibility.

[SCREEN GRAPHICS]

When each final technique shape becomes clearly readable, display one clean editorial lower-third:

01 — TAN SAU — 攤手
02 — BONG SAU — 膀手
03 — FOOK SAU — 伏手
04 — WU SAU — 護手
05 — PAK SAU — 拍手
06 — LAP SAU — 拉手
07 — GAN SAU — 耕手
08 — VERTICAL PUNCH — 日字衝拳

Use bold modern sans-serif typography, white text inside a restrained dark-red and black lower-third.

Place the graphic beside the master, never over his face, hands, elbows or torso.

Each label appears only for its corresponding movement and disappears before the next one.

Do not create brush calligraphy, floating characters or extra text.

[CAMERA COVERAGE]

Maintain one consistent presentation axis.

Use five motivated camera positions:

Camera A: frontal medium-wide showing the complete stance and both arms.

Camera B: frontal medium shot explaining centerline placement.

Camera C: 45-degree three-quarter medium shot revealing elbow and wrist depth.

Camera D: tight side detail showing only the hand, wrist, forearm and centerline relationship.

Camera E: full-body three-quarter shot showing stance, weight and power transfer.

Each angle must reveal something the previous angle could not.

Cut when the master chambers his hand, reaches the final structure or changes to the next technique.

Do not orbit randomly. No handheld shaking, decorative slow motion, excessive close-ups or cuts during unreadable intermediate positions.

[0–4 SECONDS — INTRODUCTION]

Camera A: locked frontal medium-wide.

The master stands centered in a relaxed Wing Chun neutral stance, looking directly into the lens.

He introduces himself in natural English:

{I’m Master Liang. Here are eight Wing Chun movements you can name in your prompts instead of generating random Kung Fu.}

During “eight Wing Chun movements,” make a subtle controlled push toward Camera B.

He finishes speaking, shifts his attention from the viewer to his hands and chambers both fists beside his ribs.

Cut on the chambering action.

[4–7 SECONDS — 01 TAN SAU]

Camera B: frontal medium shot.

The master says:

{Number one: Tan Sau.}

From the chambered position, he sends one forearm forward along the centerline. The elbow remains low and inward. The palm rotates upward with relaxed fingers, forming 攤手.

Do not swing the arm sideways or lift the shoulder.

Cut to Camera C during the final rotation to reveal the elbow beneath the wrist.

Display:

01 — TAN SAU — 攤手

Hold the completed structure briefly, then withdraw smoothly to guard.

[7–10 SECONDS — 02 BONG SAU]

Camera C: 45-degree three-quarter medium shot.

The master says:

{Number two: Bong Sau.}

From the guard, the forearm rotates inward while the elbow rises into a compact wing-arm structure. The wrist stays relaxed, lower than the elbow, forming 膀手.

The shoulder remains dropped. Do not raise the arm above head level or turn it into a hard block.

Display:

02 — BONG SAU — 膀手

Cut to Camera D only when the elbow, sloping forearm and relaxed wrist align clearly.

Hold, then return to guard.

[10–13 SECONDS — 03 FOOK SAU]

Camera D: tight side detail of the lead arm and centerline.

The master says:

{Number three: Fook Sau.}

He extends the forearm forward with the elbow anchored inward. The wrist bends naturally over the imagined opponent’s bridge, creating a relaxed controlling 伏手.

Keep the fingers loose and the shoulder still.

Display:

03 — FOOK SAU — 伏手

Use a short rack focus from the elbow to the relaxed wrist, explaining the structure without moving the camera.

Hold, then withdraw.

[13–16 SECONDS — 04 WU SAU]

Camera B: frontal medium shot.

The master says:

{Number four: Wu Sau.}

He draws one hand vertically back toward the centerline. The palm faces forward near the upper chest, with the elbow pointing downward, forming the protective rear hand 護手.

The hand protects the center without covering the face.

Display:

04 — WU SAU — 護手

Briefly widen enough to show the lead hand and rear Wu Sau working together as a two-layer guard.

Hold, then reset.

[16–19 SECONDS — 05 PAK SAU]

Camera B begins frontal.

The master says:

{Number five: Pak Sau.}

From guard, he delivers one short 拍手 diagonally across the centerline. The movement originates from the elbow and travels only far enough to redirect an incoming wrist.

No large slap, shoulder swing or follow-through beyond the body line.

Cut on the short contact point to Camera C, where the redirection path is easier to read.

Display:

05 — PAK SAU — 拍手

He freezes the final position for a brief beat, then returns to guard.

[19–22 SECONDS — 06 LAP SAU]

Camera C: three-quarter medium shot.

The master says:

{Number six: Lap Sau.}

He forms a compact grip on an imagined wrist, closes the fingers without excessive squeezing and pulls the captured arm toward his hip using 拉手.

The elbow travels backward close to the ribs. The torso remains upright. Do not turn it into a wide rowing motion.

Display:

06 — LAP SAU — 拉手

Make a short lateral camera track in the direction of the pull so the displacement becomes readable.

End with the hand near the ribs, then release and reset.

[22–25 SECONDS — 07 GAN SAU]

Camera A: frontal medium-wide showing both arms.

The master says:

{Number seven: Gan Sau.}

He performs 耕手 as a coordinated splitting action: one forearm protects the upper center while the opposite forearm cuts downward along the lower centerline.

Both arms move together through one compact rotation. The elbows remain controlled and the shoulders relaxed.

Do not turn the movement into two unrelated arm swings.

Display:

07 — GAN SAU — 耕手

Cut to Camera C as the upper and lower arms reach their final opposing lines.

Hold, then chamber both fists.

[25–28 SECONDS — 08 VERTICAL PUNCH]

Camera E: full-body three-quarter shot.

The master says:

{Number eight: the Wing Chun vertical punch.}

From the chambered fist, he drives one straight 日字衝拳 along the centerline.

The fist remains vertical, elbow travels behind the fist, shoulder stays relaxed and the body remains rooted. Use a compact final wrist alignment without a large hip swing.

Track inward slightly with the punch because the fist closes distance toward the viewer.

Cut to Camera D immediately before full extension, showing the vertical fist and straight wrist.

Display:

08 — VERTICAL PUNCH — 日字衝拳

Hold the completed punch without shaking or repeated punching.

[28–30 SECONDS — OUTRO]

Cut back to Camera A.

The master withdraws the punch into 問手・護手, looks directly into the lens and says:

{Name the technique. Control the movement.}

Hold the final guard for the last half-second.

End cleanly without additional gestures or graphics.

[EDITING AND AUDIO]

Use clean hard cuts motivated by chambering, rotation, final structure and reset.

Allow each complete shape to remain visible before cutting away.

The spoken number begins over the neutral guard. The technique name lands as the movement begins. The graphic appears only when the final structure becomes readable.

Use subtle J-cuts between the reset and the next spoken number to maintain pace.

Sound includes synchronized English speech, quiet training-hall ambience, cloth movement, light shoe friction and a restrained dry whoosh for each completed technique.

Use subtle modern percussion beneath the introduction and transitions. Lower the music during every spoken line.

No impact explosions or exaggerated action sounds.

[MOTION CONSISTENCY]

Exactly one master throughout.

Perform exactly one clean repetition of each named technique.

Every movement begins from the previous visible guard or chamber and ends in a stable readable position.

No random combinations, generic Kung Fu, rapid hand flurries, extra punches, kicks, acrobatics, weapon movements or invented transitions.

No duplicated limbs, changing hands, fused fingers, broken wrists, teleporting arms or inconsistent stance.

Prioritize accurate structure and educational clarity over speed or spectacle.

Seedance 2.5 prompt [GENERATION GOAL] Create a polished 30-second, 16:9 YouTube martial-arts tutorial in English. One experienced Chinese Wing Chun master introduces himself, then demonstrates eight clearly named movements drawn from the Siu Nim Tao curriculum, counted as 108 movements in some Wing Chun schools. The purpose is to teach AI filmmakers which ex...

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Seedance 2.5 prompt [GENERATION GOAL] Create a polished 30-second, 16:9 YouTube martial-arts tutorial in English. One experienced Chinese Wing Chun master introduces himself, then demonstrates eight clearly named movements drawn from the Siu Nim Tao curriculum, counted as 108 movements in some Wing Chun schools. The purpose is to teach AI filmmakers which ex...

原始 Prompt

Seedance 2.5 prompt

[GENERATION GOAL]

Create a polished 30-second, 16:9 YouTube martial-arts tutorial in English.

One experienced Chinese Wing Chun master introduces himself, then demonstrates eight clearly named movements drawn from the Siu Nim Tao curriculum, counted as 108 movements in some Wing Chun schools.

The purpose is to teach AI filmmakers which exact technique names to write in their prompts instead of requesting vague “Kung Fu movements.”

The video must feel professionally directed and edited: clean coverage, readable body mechanics, synchronized speech, motivated cuts and no random martial-arts gestures.

[PRESENTER]

Exactly one Chinese Wing Chun master, approximately 50 years old, lean and composed.

He wears an ivory-white traditional Chinese tunic, black trousers and black cloth shoes.

Maintain the same face, body, costume and voice throughout.

His English is clear, natural and conversational, with a light Hong Kong accent. His delivery is confident but not theatrical.

He demonstrates every technique from a stable Wing Chun stance with relaxed shoulders, elbows controlling the centerline and physically credible wrist alignment.

[LOCATION AND VISUAL STYLE]

Film inside a real traditional Wing Chun training hall, not a white background.

Dark timber walls, stone floor, soft daylight through wooden windows and a wooden dummy visible in the distant background. Keep the training area around the master uncluttered.

Use professional YouTube lighting: soft frontal key light, gentle side contrast and subtle warm practical lights in the background.

Natural skin, realistic fabric, restrained cinematic contrast and crisp instructional visibility.

[SCREEN GRAPHICS]

When each final technique shape becomes clearly readable, display one clean editorial lower-third:

01 — TAN SAU — 攤手
02 — BONG SAU — 膀手
03 — FOOK SAU — 伏手
04 — WU SAU — 護手
05 — PAK SAU — 拍手
06 — LAP SAU — 拉手
07 — GAN SAU — 耕手
08 — VERTICAL PUNCH — 日字衝拳

Use bold modern sans-serif typography, white text inside a restrained dark-red and black lower-third.

Place the graphic beside the master, never over his face, hands, elbows or torso.

Each label appears only for its corresponding movement and disappears before the next one.

Do not create brush calligraphy, floating characters or extra text.

[CAMERA COVERAGE]

Maintain one consistent presentation axis.

Use five motivated camera positions:

Camera A: frontal medium-wide showing the complete stance and both arms.

Camera B: frontal medium shot explaining centerline placement.

Camera C: 45-degree three-quarter medium shot revealing elbow and wrist depth.

Camera D: tight side detail showing only the hand, wrist, forearm and centerline relationship.

Camera E: full-body three-quarter shot showing stance, weight and power transfer.

Each angle must reveal something the previous angle could not.

Cut when the master chambers his hand, reaches the final structure or changes to the next technique.

Do not orbit randomly. No handheld shaking, decorative slow motion, excessive close-ups or cuts during unreadable intermediate positions.

[0–4 SECONDS — INTRODUCTION]

Camera A: locked frontal medium-wide.

The master stands centered in a relaxed Wing Chun neutral stance, looking directly into the lens.

He introduces himself in natural English:

{I’m Master Liang. Here are eight Wing Chun movements you can name in your prompts instead of generating random Kung Fu.}

During “eight Wing Chun movements,” make a subtle controlled push toward Camera B.

He finishes speaking, shifts his attention from the viewer to his hands and chambers both fists beside his ribs.

Cut on the chambering action.

[4–7 SECONDS — 01 TAN SAU]

Camera B: frontal medium shot.

The master says:

{Number one: Tan Sau.}

From the chambered position, he sends one forearm forward along the centerline. The elbow remains low and inward. The palm rotates upward with relaxed fingers, forming 攤手.

Do not swing the arm sideways or lift the shoulder.

Cut to Camera C during the final rotation to reveal the elbow beneath the wrist.

Display:

01 — TAN SAU — 攤手

Hold the completed structure briefly, then withdraw smoothly to guard.

[7–10 SECONDS — 02 BONG SAU]

Camera C: 45-degree three-quarter medium shot.

The master says:

{Number two: Bong Sau.}

From the guard, the forearm rotates inward while the elbow rises into a compact wing-arm structure. The wrist stays relaxed, lower than the elbow, forming 膀手.

The shoulder remains dropped. Do not raise the arm above head level or turn it into a hard block.

Display:

02 — BONG SAU — 膀手

Cut to Camera D only when the elbow, sloping forearm and relaxed wrist align clearly.

Hold, then return to guard.

[10–13 SECONDS — 03 FOOK SAU]

Camera D: tight side detail of the lead arm and centerline.

The master says:

{Number three: Fook Sau.}

He extends the forearm forward with the elbow anchored inward. The wrist bends naturally over the imagined opponent’s bridge, creating a relaxed controlling 伏手.

Keep the fingers loose and the shoulder still.

Display:

03 — FOOK SAU — 伏手

Use a short rack focus from the elbow to the relaxed wrist, explaining the structure without moving the camera.

Hold, then withdraw.

[13–16 SECONDS — 04 WU SAU]

Camera B: frontal medium shot.

The master says:

{Number four: Wu Sau.}

He draws one hand vertically back toward the centerline. The palm faces forward near the upper chest, with the elbow pointing downward, forming the protective rear hand 護手.

The hand protects the center without covering the face.

Display:

04 — WU SAU — 護手

Briefly widen enough to show the lead hand and rear Wu Sau working together as a two-layer guard.

Hold, then reset.

[16–19 SECONDS — 05 PAK SAU]

Camera B begins frontal.

The master says:

{Number five: Pak Sau.}

From guard, he delivers one short 拍手 diagonally across the centerline. The movement originates from the elbow and travels only far enough to redirect an incoming wrist.

No large slap, shoulder swing or follow-through beyond the body line.

Cut on the short contact point to Camera C, where the redirection path is easier to read.

Display:

05 — PAK SAU — 拍手

He freezes the final position for a brief beat, then returns to guard.

[19–22 SECONDS — 06 LAP SAU]

Camera C: three-quarter medium shot.

The master says:

{Number six: Lap Sau.}

He forms a compact grip on an imagined wrist, closes the fingers without excessive squeezing and pulls the captured arm toward his hip using 拉手.

The elbow travels backward close to the ribs. The torso remains upright. Do not turn it into a wide rowing motion.

Display:

06 — LAP SAU — 拉手

Make a short lateral camera track in the direction of the pull so the displacement becomes readable.

End with the hand near the ribs, then release and reset.

[22–25 SECONDS — 07 GAN SAU]

Camera A: frontal medium-wide showing both arms.

The master says:

{Number seven: Gan Sau.}

He performs 耕手 as a coordinated splitting action: one forearm protects the upper center while the opposite forearm cuts downward along the lower centerline.

Both arms move together through one compact rotation. The elbows remain controlled and the shoulders relaxed.

Do not turn the movement into two unrelated arm swings.

Display:

07 — GAN SAU — 耕手

Cut to Camera C as the upper and lower arms reach their final opposing lines.

Hold, then chamber both fists.

[25–28 SECONDS — 08 VERTICAL PUNCH]

Camera E: full-body three-quarter shot.

The master says:

{Number eight: the Wing Chun vertical punch.}

From the chambered fist, he drives one straight 日字衝拳 along the centerline.

The fist remains vertical, elbow travels behind the fist, shoulder stays relaxed and the body remains rooted. Use a compact final wrist alignment without a large hip swing.

Track inward slightly with the punch because the fist closes distance toward the viewer.

Cut to Camera D immediately before full extension, showing the vertical fist and straight wrist.

Display:

08 — VERTICAL PUNCH — 日字衝拳

Hold the completed punch without shaking or repeated punching.

[28–30 SECONDS — OUTRO]

Cut back to Camera A.

The master withdraws the punch into 問手・護手, looks directly into the lens and says:

{Name the technique. Control the movement.}

Hold the final guard for the last half-second.

End cleanly without additional gestures or graphics.

[EDITING AND AUDIO]

Use clean hard cuts motivated by chambering, rotation, final structure and reset.

Allow each complete shape to remain visible before cutting away.

The spoken number begins over the neutral guard. The technique name lands as the movement begins. The graphic appears only when the final structure becomes readable.

Use subtle J-cuts between the reset and the next spoken number to maintain pace.

Sound includes synchronized English speech, quiet training-hall ambience, cloth movement, light shoe friction and a restrained dry whoosh for each completed technique.

Use subtle modern percussion beneath the introduction and transitions. Lower the music during every spoken line.

No impact explosions or exaggerated action sounds.

[MOTION CONSISTENCY]

Exactly one master throughout.

Perform exactly one clean repetition of each named technique.

Every movement begins from the previous visible guard or chamber and ends in a stable readable position.

No random combinations, generic Kung Fu, rapid hand flurries, extra punches, kicks, acrobatics, weapon movements or invented transitions.

No duplicated limbs, changing hands, fused fingers, broken wrists, teleporting arms or inconsistent stance.

Prioritize accurate structure and educational clarity over speed or spectacle.

85mm 人像镜头多分屏突出手部短发自然日光柔光平静建筑或室内