병맛 애니 만든 프롬프트 모두 공개합니다🫢 사실 저는 병맛 재능이 많이 부족한데... 항상 추구미 중 하나 입니다🥲 병맛 애니 파일럿 에피소드를 제작해서 공개했는데, 프롬프트를 궁금해하신 분들이 많아서 작업 과정 전체를 간략하게 공유드립니다👇

4️⃣ 캡컷 영상 편집 영상 두개를 이어 붙이고 이번 영상 제작이 완료되었습니다. 생각보다 너무 작업 과정이 단순해 보이실 수 있는데 솔직히 말하자면 운이 좋았던 작업이긴 합니다. 캐릭터 시트, 목소리, 장소 등을 자세히 설정하지 않고 작업하는 방식은 긴 영상을 제작하기에는 일관성 측면에서 위험 요소가 상당히 많아 버리는 클립이 굉장히 많아질 수 있습니다. 그럼에도 불구하고 1~2분 정도 되는 영상을 제작할 때 빠르게 가능성을 탐색하기에는 480p 로 영상을 생성하면 생각보다 저렴하게 영상을 제작해볼 수 있고 이후 방향성이 정해지면 좀 더 견고하게 설계해서 좀 더 좋은 퀄리티의 영상 제작에 도전해보면 됩니다.

Seedance 를 사용할 때 비쥬얼 스타일 용 이미지를 따로 활용해보세요 새로 작업을 진행하면서 한번 테스트 해보았는데 실제로 같은 프롬프트로 영상을 비교해 보니 비쥬얼 스타일을 참조로 넣는 경우가 원본 미드저니 이미지 스타일을 훨씬 잘 반영하고 여러 클립 만들 때도 영상 클립 간의 일관성도 높아져서 훨씬 만족스러운 결과물을 얻을 수 있었네요~! 이번 영상은 특히 원본 sref 의 파랑/빨강 네온 느낌 분위기가 중요했는데 비쥬얼 이미지 참조로 느낌 살릴 수 있었습니다! 답글에 해당 영상에 활용한 프롬프트 공유드립니다👇

Seedance 2.5 Prompt 👇 Create a 30-second PIXEL ART noir chase animation in 16:9, edited into 12 shots. An adult female detective discovers a masked criminal hiding a crime and pursues him through heavy nighttime rain. Alternate dynamic cinematic coverage with true first-person views from BOTH characters. EVERY FRAME MUST LOOK LIKE THE SUPPLIED PIXEL ART REFERENCES. PIXEL ART STYLE LOCK — HIGHEST VISUAL PRIORITY @Image1 and @Image2 define the actual pixel rendering, not merely character inspiration. Preserve their coarse square-pixel clusters, broken stippled silhouettes, checkerboard dithering, distressed pixel-print texture and deliberately limited palette. Build characters, faces, clothing, buildings, rain, puddles and lighting entirely from visibly discrete, hard-edged square pixels. Use large readable clusters for forms and scattered smaller pixel clusters at silhouette edges, matching the references. Palette: near-black/deep green-black, electric cyan-blue, saturated vermilion red, pale icy gray. Retain broad contrasting red and cyan color masses on the characters. Night is expressed through dominant black shapes, sparse pale highlights and cyan/red pixel reflections, not smooth realistic shading. Rain must not wash the palette into gray. Shade with solid color steps, ordered dithering and broken pixel clusters. No continuous gradients. Keep faces and clothes visibly pixelated in every close-up. Enlarged details expose larger square pixels rather than becoming smooth illustrations. Use a consistent coarse virtual pixel grid and crisp nearest-neighbor presentation, without claiming a specific render resolution. Animate fully articulated pixel characters and redraw perspective during camera travel; this is not a static poster with a zoom. Foreground, characters and background move with coherent multiplane parallax while retaining the same pixel construction. Fast motion uses short stepped pixel smears and displaced color clusters, never optical motion blur. Rain uses short segmented pixel streaks; splashes break into angular pixel droplets; reflections fragment into horizontal stepped pixel bands. Cyan rim light and red lamps have hard stepped pixel halos, not soft bloom. Preserve the references' abrasive graphic texture throughout. Immersion comes from weight, camera position, timing and sound, while the image remains unmistakably PIXEL ART. Use @image3 exclusively as the highest-priority STYLE REFERENCE for rendering technique and surface treatment. Transfer only its distinctive hybrid pixel-art and painterly rendering: irregular square-pixel clusters, checkerboard dithering, stippled tonal transitions, distressed print-like grain, fragmented edges, and finely drawn details integrated into coarser pixel-textured surfaces. Preserve the contrast between delicate local detail and rough, broken pixel patterns. Build this texture into the forms and shading rather than applying a uniform pixelation filter over a smooth image. Do NOT transfer the reference's colors, palette, lighting, contrast scheme, composition, camera angle, character identity, facial features, hairstyle, clothing, pose, objects, environment, weather, or scene content. Derive all of these exclusively from the main scene prompt and any separately assigned content references. Apply the reference's rendering method using the colors and lighting requested by the main scene prompt. Highest priority applies ONLY to rendering style, never to scene content. Maintain this treatment consistently across subjects, backgrounds, movement, and close-ups. Preserve intentional pixel clusters and textured edges without random flickering or smoothing them away. Never imitate conventional 2D cel animation, flat cel shading, clean vector outlines, or glossy 3D rendering. Do not simplify the style into generic low-resolution game sprites. REFERENCE IDENTITY AND CONTINUITY @Image1 is the detective: preserve her face, black bob, pale collared blouse, dark high-waisted trousers and silhouette. @Image2 is the criminal: preserve his tall animal mask, dark suit, pale shirt and red tie. Replace the long reference sword with ONE short steel knife in his RIGHT hand. Use the references for identity, costume, palette and pixel treatment; replace their pale backgrounds and static poses with the animated nighttime alley. The detective carries one flashlight in her LEFT hand; her right hand is free. No drawn firearm. The criminal uses his free LEFT hand for obstacles. Route: loading bay, narrow alley, mesh gate, red-lit RIGHT corner. In side views both run left to right, criminal ahead. Preserve rain, costume, prop ownership and momentum across cuts. True POV is located at the named character's eyes; only their own hands may enter the bottom of that view. All POV environments and hands retain the same coarse pixel art. Use readable footfall bob and brief gaze-led turns. SHOT 01 [0-2s] Ground-level tight lateral slide: the criminal's left hand pulls a dark tarp over a motionless human-sized silhouette beside a loading door. No visible wound. His right-hand knife catches a jagged cyan pixel highlight. A hard-edged flashlight cone hits his sleeve and arrests his movement. Tarp folds are broad black/red pixel shapes. SHOT 02 [2-4s] CUT ON the light landing to the detective's medium close-up. Dolly toward her as her pixel-defined eyes lock onto the scene, jaw tightens and left wrist steadies the flashlight. Pale rain pixels collect along the angular black bob. End as she leans forward. Retain coarse facial pixel clusters, even at this scale. SHOT 03 [4-7s] CUT ON her first step to DETECTIVE POV. Advance toward the loading bay, flashlight low left. The masked criminal looks directly toward her, releases the tarp, pushes off and bolts into the alley. Follow his torso with the light. Brickwork and his mask remain sharply pixel-built, with no realistic texture. SHOT 04 [7-9s] CUT ON his departure to low side full-body tracking. He accelerates left to right; she enters six meters behind and launches after him. Planted boots drive angular cyan water pixels backward. Sleeves and jacket lag behind their bodies. Near black posts pass quickly while distant red/cyan brick clusters move more slowly. SHOT 05 [9-12s] CUT ON his backward glance to CRIMINAL POV. While running forward, look briefly over his left shoulder: the detective pursues, her flashlight bouncing below her face. His left sleeve edges the frame. Return the gaze forward before a loose waist-high bin. Use a short stepped pixel smear during the turn, then immediately restore crisp scenery. SHOT 06 [12-15s] CUT ON his left hand reaching to moving three-quarter wide coverage. He shoves the bin across her path with his left hand and continues forward, knife held low right. She reads its rolling path, plants outside it and redirects around the near edge. Keep both bodies, obstacle and supporting feet visible. The bin's impact scatters square water clusters. SHOT 07 [15-17s] CUT ON her sidestep to DETECTIVE POV. The bin sweeps through the lower foreground. Her view briefly tilts with her supported avoidance, then levels as she regains pursuit. The criminal remains ahead. End when the mesh gate enters the light; its grid is drawn as an explicit pixel pattern. SHOT 08 [17-20s] CUT ON the gate reveal to a high diagonal wide shot. Track above the alley from the same side of the action axis. The criminal pushes the partly open gate with his left palm, passes through and releases it. She closes to three meters as it swings back. Red and cyan reflection bands break beneath their steps. SHOT 09 [20-23s] CUT ON the swinging gate to lateral full-body coverage. She catches the mesh with her free right palm. Brief dramatic slow motion begins as the edge passes close to her face: individual pixel rain streaks, hair clusters and sleeve folds continue moving. The camera glides sideways at a controlled pace. Snap back to full speed when her planted foot drives her through. Her right hand releases; she recovers directly into running. No collision. SHOT 10 [23-25s] CUT ON her release to forward-facing CRIMINAL POV. Sprint into the narrowing passage, knife low right; his free left hand brushes the corner for balance. A vermilion wall lamp marks a right turn ahead. The lamp has a stepped red pixel halo. Her breathing and splashing footsteps remain close behind. SHOT 11 [25-28s] CUT ON the red lamp reveal to fast side medium-wide tracking. He runs left to right; she is two meters behind. Drainpipes sweep across the foreground as crisp black pixel silhouettes. She reaches toward his trailing jacket with her right hand, narrowly misses, then retracts her arm to maintain balance. Brief directional pixel smears accent the reach; recover exact anatomy immediately. SHOT 12 [28-30s] CUT ON his turn to rear follow coverage behind the detective. He rounds the red-lit RIGHT corner and disappears behind the solid brick edge. She continues toward it at speed. End just before she turns, flashlight aimed right from her left hand, right foot planted to prepare the turn. Final image: her black bob and pale pixel blouse against a black alley, jagged red corner light and cyan rain. No end card. SOUND AND EXCLUSIONS Hard rain, directional foot splashes, close breathing and gate rattle over a low accelerating pursuit pulse. No dialogue or subtitles. Predominantly full-speed motion except the gate near miss. No photorealism, smooth anime rendering, vector contours, painterly brushwork, glossy 3D, soft shading, antialiasing, depth-of-field blur, optical motion blur or film grain replacing pixel texture. Do not reduce the references to a generic neon palette. Do not smooth the pixels during camera movement or close-ups. No duplicate characters, weapon switching, gore or premature supernatural disappearance.