Hi there! Here are your promised prompt! Have fun creating and don’t forget to tag me in your work!
All of my footages were created using Seedance 2.0 in Higgsfield:https://higgsfield.ai/s/seedance-2-0-kaye.creatives-wxvxMo
Input your photo, and paste these prompts:
Photorealistic cinematic shot, 2.39:1 anamorphic. HIGH ANGLE CLOSE-UP — camera positioned above her and angled down at her face and hands, close enough that her head, shoulders and the camera she holds fill the frame, with a sliver of the rooftop metal panels and the city far below visible at the edges. HANDHELD with natural organic micro-shake and breathing; framing stays locked on her — no walking, no pan, no zoom.LOCATION:
CITY
Scene: The same rooftop, same bright clear midday. Only fragments of the environment read at the frame edges: corrugated metal roof beneath her, a hint of blue sky and hazy city rooftops in the background bokeh — the giant penguins are OUT OF FRAME or suggested only as a soft dark mass and their shadow falling across the roof. Action:
KAYE
(Wardrobe A: white tee, thin silver chain, small hoop earrings, hair loosely clipped with strands loose in the wind) sits on the rooftop holding a real photo camera in both hands. She looks UP and off-camera toward the penguins with an open, delighted expression — eyes bright and tracking something enormous above her, a genuine unforced SMILE spreading across her face. She raises the camera to her eye, one eye closing behind the viewfinder, steadies her elbows, and presses the shutter — a small recoil in her hands, the shutter click. She lowers the camera to check the screen, her smile widening at what she got, glances up again with a quiet laugh, then lifts the camera for one more frame at a slightly different angle. Natural, unhurried, absorbed — she NEVER looks into the lens of our camera. Lighting & look: Crisp midday sun as key — warm directional light across her face and forearms, defined shadow under her jaw and the camera body, bright rim on her hair with loose strands catching light, sky bounce filling the shadow side. Honest skin texture: pores, fine vellus hair, natural micro-shine, faint sun squint. Realistic reflections and specular detail on the camera's lens barrel and body. Shallow depth of field — her eyes and the camera tack sharp, background rooftop and city softly dissolved. Strict photoreal cinema, natural color, film grain. Physics/realism: True camera-handling behaviour — correct grip, thumb near the dial, index finger on the shutter, elbows tucked for stability, the small physical click and settle when she shoots; her hair and t-shirt move in the rooftop wind; her eyeline stays consistently up and off-frame where the giant penguins tower. Lens: STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. 2.39:1. Negative: no looking into the camera, no talking, no camera movement beyond handheld shake, no zoom, no visible camera brand logos, no fake or exaggerated smiling, no skin smoothing or beauty filter, no cartoon look, no text, no watermarks, NO MUSIC, no soundtrack — only diegetic ambience: rooftop wind, shutter clicks, distant city hum, deep penguin calls off-frame.
SCENE 16 — GIANT PENGUINS OVER THE CITY (rooftop, photographing) LOCATION:
CITY
Photorealistic cinematic shot, 2.39:1 anamorphic. STATIC framing, HANDHELD — locked composition with natural organic micro-shake and breathing, as if an operator stands on the rooftop holding the camera. No walking, no pan, no zoom, no tracking. Scene: Daytime on the rooftop of a mid-rise city building — corrugated metal roof panels in the immediate foreground, vent pipes, a low parapet. Beyond it, an ordinary dense cityscape: mid-century concrete and tile apartment blocks, office buildings, a red-and-white lattice radio tower, streets and low hills far behind, under a bright blue sky with big soft cumulus clouds. Standing AMONG the buildings, towering far above them, is a group of COLOSSAL HUMBOLDT PENGUINS — real penguins scaled to skyscraper height, rising between and behind the apartment blocks, some near, some further back, all facing different directions, calm and utterly unbothered. The nearest one, at the right edge of frame, is enormous and close, its head tilted back with beak open in a natural braying call. Action:
KAYE
(Wardrobe A: wide-leg jeans, white tee, silver accessories, sneakers) sits on the rooftop in the foreground — cross-legged or with knees up on the metal roof, seen from behind and slightly to the side — holding a camera to her eye and PHOTOGRAPHING the penguins: she frames a shot, presses the shutter, lowers the camera to check the screen, adjusts, lifts it again for another angle, unhurried and delighted, as if photographing wildlife on an ordinary outing. Meanwhile the penguins live their own lives at giant scale: slow head turns, blinking, the near one calling with its beak open and throat working, another shifting weight, flippers adjusting slightly, feathers ruffling in the breeze. Her hair and t-shirt move in the rooftop wind. She never looks at the camera. Lighting & look: Bright clear midday sun — crisp directional light, hard defined shadows on the metal roof and building facades, brilliant white cloud tops, deep saturated blue sky, warm sunlight on the penguins' pale chests against cool shadow sides. Realistic haze layering the distant city and hills for depth. Strict photoreal cinema, natural color, film grain, high dynamic range. Physics/realism: The penguins are REAL Humboldt penguins in every detail at impossible scale — true feather structure with the fine waterproof plumage sheen, pink-and-black beak markings, the species' distinct chest band, wet dark eyes, natural blinking and head-cocking, subtle body sway to stay balanced, believable mass; only their size is impossible. Correct scale relationships: their shadows fall across the buildings and streets below, and the buildings correctly occlude their bodies. Reference match: Reproduce the reference composition closely — a group of giant penguins standing among city buildings under a blue cloudy sky, the largest one at the right edge with its beak open, the red-and-white lattice tower visible mid-frame, tiled roof panels across the bottom foreground. Take composition, staging and subject placement only; the reference is a painting — the output must be strictly PHOTOREAL, with light and grade per this scene's Lighting & look block, not the painting's flat palette. Lens: STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. 2.39:1. Negative: no camera movement beyond handheld shake, no zoom, no cartoon or CGI-plastic penguins, no painterly or illustrated look, no aggression or monster behaviour, no destruction, no people panicking, no her looking at camera, no text, no watermarks, NO MUSIC, no soundtrack — only diegetic ambience: wind on the roof, distant city hum, shutter clicks, deep penguin calls.
SCENE 15 — THE SHARK THAT FOLLOWS (forest road, bicycle) LOCATION:
road
Photorealistic cinematic shot, 2.39:1 anamorphic. Camera positioned ON the road AHEAD of her, low-medium height, facing back down the road so she rides TOWARD the lens with the shark behind her — a locked framing that holds her centered as she approaches. HANDHELD with natural organic micro-shake and breathing; the camera may drift back very slightly to keep distance, but NO zoom, NO pan, no whip movement. Scene: A narrow two-lane asphalt road winding through a dense old-growth forest — enormous redwood-like trunks rising out of frame on both sides, thick undergrowth, ferns and moss, a canopy so high and dense it forms a green tunnel. A single bright shaft of sunlight breaks through a gap in the canopy far down the road, lighting a patch of wet asphalt; faded yellow center lines and a white edge line run along the tarmac. Action:
KAYE
(Wardrobe A: wide-leg jeans, white tee, silver accessories, sneakers) rides an ordinary bicycle along the road at an easy pace, relaxed, one hand occasionally off the bars, hair moving in her own airflow — a completely normal, pleasant ride. Floating in the air a few meters behind and slightly above her, following her like a loyal dog, is an ENORMOUS GREAT WHITE SHARK — swimming through the air with slow, calm sweeps of its tail, keeping pace, drifting gently up and down. It is unmistakably FRIENDLY: relaxed posture, soft unaggressive eyes, mouth closed or barely open in a gentle natural curve that reads as a smile, no threat display whatsoever. It follows patiently, tilting slightly when she turns. She glances back over her shoulder once with an easy, fond smile — completely used to it — then faces forward again and keeps riding. The shark drifts a little closer, then settles back into its following distance. Lighting & look: Deep forest light — cool green shade dominating, dim and layered, with warm god rays breaking through the canopy gap and pooling on the asphalt; strong atmospheric haze between the trunks giving enormous depth; soft dappled light moving across her and the shark as they pass under gaps. Rich, natural, cinematic contrast — the shark's pale underside catching the warm shaft, its back reading dark against the green gloom. Strict photoreal cinema, natural color, film grain. Physics/realism: The shark is a real great white in every respect — true anatomy and proportions, rough denticle skin texture, gill slits opening and closing, scars and nicks on the snout, wet-looking eye, natural muscular tail propulsion; it moves through air exactly as it would through water, with real inertia, glide and slow banking. Only its medium is impossible. Her bicycle physics are ordinary and real — wheel rotation matching speed, slight steering corrections, chain sound, tyres on wet tarmac. Reference match: From the ref take the composition and staging only — the forest road as a green tunnel, a lone shaft of light down the middle, the giant shark hanging in the air over the roadway facing the viewer, dwarfing everything. Do NOT copy the ref's painterly rendering or its muted palette: the output must be strictly PHOTOREAL, graded per this scene's Lighting & look block. Lens: STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. 2.39:1. Negative: no aggression, no open jaws lunging, no chasing or attack behaviour, no blood, no horror tone, no cartoon or CGI-plastic shark, no painterly look, no zoom, no camera movement beyond handheld shake, no cars, no other people, no text, NO MUSIC, no soundtrack — only diegetic ambience: forest birds, wind in the canopy, tyres on asphalt, a low deep whoosh as the shark moves.
SCENE 13 — REAL-LIFE TETRIS (girl in the armchair on the hill) REFERENCE:
165d562f11071ca82c1fa091551878a3
Location:
TETRIS
Photorealistic cinematic shot, 2.39:1 anamorphic. Camera positioned BEHIND and slightly to the side of her at a low-medium height, framing her in the near foreground (back and shoulder, gamepad in hands) with the city skyline filling the background — an over-the-shoulder wide. HANDHELD with subtle organic micro-shake and breathing, locked on this framing: no walking, no pan, no zoom. Scene: Late afternoon on a grassy hill overlooking a modern city. A worn vintage armchair stands alone in the grass, angled toward the skyline. In the distance, a district of CONTEMPORARY high-rise apartment towers — clean glass-and-concrete facades, balconies, rooftop units — standing in an incomplete row with obvious gaps between them, like an unfinished Tetris board. Above the skyline, several massive rectangular BUILDING BLOCKS hang in the open sky — real chunks of modern apartment buildings, complete with windows, balconies, railings and lit interiors, in L-shapes, squares and long bars, floating and slowly descending like tetrominoes. Action:
KAYEEE
(Wardrobe A: wide-leg jeans, white tee, silver accessories, sneakers) sits deep in the armchair, fully relaxed — one leg hooked over the armrest, head back against the cushion — holding a RETRO GAMEPAD in both hands, thumbs working the d-pad with the small precise flicks of a practiced player. Every input has a visible consequence in the sky: a floating apartment block rotates 90° with a heavy, weighty turn, slides sideways over the skyline, then drops and locks into a gap in the building row with a settling impact — dust puffing from the seam, windows lighting up as it connects, birds scattering. She keeps playing calmly, another block appearing higher in the sky and beginning its slow descent as the shot ends. She never looks at the camera; her focus is on the skyline. Lighting & look: Warm late-afternoon sun raking across the hill — long grass shadows, golden rim light on her shoulders, hair and the chair's worn upholstery, glass towers catching hot reflections, deep atmospheric haze between city layers giving real depth. Physically correct light on the floating blocks: sun on their tops, true cast shadows sliding across the buildings and the hill below as they move. Strict photoreal cinema, natural color, film grain, no VFX glow, no game HUD. Physics/realism: The blocks behave like enormous real concrete structures — massive inertia, slight settle on impact, debris dust, realistic material weight; the grass, her hair and clothes move in a light breeze; the gamepad and her thumb movement are perfectly in sync with each block's motion. Reference match: From the ref take the core idea and composition only — real apartment-building sections floating in open sky above a residential skyline, photographed as if genuinely there. Do NOT copy the ref's dated Soviet-era panel blocks or its palette: the buildings here are MODERN high-rises, and color follows this scene's Lighting & look block. Lens: STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. 2.39:1. Negative: no game UI, no score counter, no glowing outlines, no cartoon or CGI-plastic buildings, no camera movement beyond handheld shake, no zoom, no looking at camera, no text, NO MUSIC, no soundtrack — only diegetic ambience: wind, distant city hum, gamepad clicks, low rumble as blocks land.