PRODUCTION BREAKDOWN — SEEDANCE 2.0
Elevator Scene
Every character sheet, every location build, every shot prompt, in the order I generated them.
Stage 1 — Before the doors close
Building the assets
Character sheet and location.
Luna — character sheet
Locks Luna's face, hair and navy office look across three angles — front, back, and a straight-on close-up for expression work. Neutral grey backdrop keeps every generation attaching to her, not the background.
Reference prompt
3-view character reference sheet for a film character. Gritty cinematic 35mm film photograph, naturalistic editorial reference, fine film grain. Lit with very soft, low, diffused natural light — a large heavily-diffused source dimmed well down, the quality of soft shade or thin overcast through a scrim, wrapping gently around the face with extremely smooth gradual falloff. Low-key restrained exposure, slightly underexposed and moody, the overall light level kept low so nothing is bright, hot or glaring; absolutely no harsh shadows, no hotspots, no blown highlights, no hard edges of light; kept consistent across all three panels. Neutral medium-grey seamless backdrop — a clear mid-grey, never white. Modern corporate office attire, clean and professional — not glossy or hyperreal, organic matte film skin texture. The same woman in all three views: attractive woman in her mid-to-late 20s, fair skin with a warm undertone, long dark blonde wavy hair worn down past the shoulders with soft natural volume, subtly asymmetrical face with natural warmth in the expression, a small gold star stud earring on each ear, a thin delicate gold necklace at the collarbone. Keep the exact same facial identity, bone structure, features, and earring detail across all three views. Both arms whole and both hands normal, intact human hands — no missing limbs, no prosthesis. Modern business attire: a tailored navy blazer worn open over a crisp white button-up shirt, the top one or two buttons undone at the neckline, matching navy tailored trousers. LEFT panel — "FRONT, full body": full-length front view, standing straight and neutral facing camera, one hand resting at the blazer's lapel, the other arm relaxed at her side. CENTER panel — "BACK, full body": full-length back view, standing straight facing directly away from camera, showing the back seam and vent of the navy blazer. RIGHT panel — "FRONTAL CLOSE-UP": frontal close-up portrait from the chest up, head facing straight toward camera, eyes looking directly into the lens, face square to camera, symmetrical framing. Consistency: the same single character with identical face, hair, gold star earring detail, navy blazer and white shirt outfit, and proportions in all three panels — only the camera angle and crop change. 16:9 horizontal sheet.
Dave — character sheet
Same structure as Luna's sheet, built to sit beside her in frame without a style mismatch — same lighting recipe, same grey seamless, same three-panel logic.
Reference prompt
3-view character reference sheet for a film character. Gritty cinematic 35mm film photograph, naturalistic editorial reference, fine film grain. Lit with very soft, low, diffused natural light — a large heavily-diffused source dimmed well down, the quality of soft shade or thin overcast through a scrim, wrapping gently around the face with extremely smooth gradual falloff. Low-key restrained exposure, slightly underexposed and moody. Neutral medium-grey seamless backdrop — a clear mid-grey, never white. The same man in all three views: attractive white man in his early 30s, fair skin with a warm undertone, dark brown hair short on the sides and slightly longer on top with natural texture and a light natural wave, well-groomed short stubble along the jaw, sharp jawline, a thin silver watch on the left wrist. Keep the exact same facial identity, bone structure, features, and watch detail across all three views. Modern business attire: a charcoal-grey tailored blazer worn open over a crisp light-blue button-up shirt, top button undone, no tie, matching charcoal-grey tailored trousers. LEFT panel — "FRONT, full body": standing straight and neutral facing camera, one hand in the trouser pocket. CENTER panel — "BACK, full body": standing straight facing directly away from camera, showing the back seam and vent of the charcoal blazer. RIGHT panel — "FRONTAL CLOSE-UP": frontal close-up portrait from the chest up, head facing straight toward camera, not profile or three-quarter, eyes looking directly into the lens, face square to camera. Consistency: identical face, hair, stubble, watch detail, charcoal blazer and light-blue shirt outfit, and proportions in all three panels — only the camera angle and crop change. 16:9 horizontal sheet.
The elevator — location build
The whole series happens in one box, so this build had to hold up in wide shots and extreme close-ups alike. The button panel gets its own explicit spec — a realistic single column, an unmistakable labeled emergency button — because early passes generated an unusable wall of duplicate buttons.
Reference prompt
The interior of a modern high-rise office building elevator. Warm wood-paneled walls in a rich walnut tone lining both side walls, vertical brushed-steel accent strips breaking up the wood paneling at intervals. A brushed stainless-steel elevator door centered on the back wall, doors meeting at a clean center seam. To the right of the doors, a compact brushed-steel control panel embedded in the wood paneling — a small digital floor display near the top, with a single simple vertical column of no more than 12 round call buttons beneath it (one button per floor, realistic for a mid-rise office building, not a long or excessive grid), one button glowing amber/gold to indicate the selected floor, plus a door-open and door-close button at the bottom of the column. Directly above the emergency call button is a small engraved or printed label reading "EMERGENCY" in clear capital letters, alongside a small phone handset icon/logo etched or printed next to the text — both the word and the icon clearly legible whenever this part of the panel is in frame. No duplicate columns, no oversized panel, no unrealistic number of buttons. A horizontal stainless-steel handrail mounted at waist height along both side walls. The ceiling is a soft rectangular grid of frosted glass panels backlit with warm-white light, set within dark metal framing, casting even, diffused illumination throughout the car with no harsh shadows. The floor is covered in a low-pile beige/taupe commercial carpet with subtle flecked texture. Photorealistic, cinematic lighting, no people present, no props on the floor.
Stage 2 — The prompting framework
Four scenes breakdown
Every asset gets a short name once, and every prompt after that just references it:
Because the names match across every scene, continuity holds without re-describing wardrobe or lighting each time — change it once at the top, and it's consistent everywhere downstream.
Stage 3 — The scenes
Floor 8. Doors close. Nobody's going anywhere.
Four consecutive scenes, cut together like a real film — wide, extreme close-up, medium, reaction, in the order a human operator would actually shoot them inside a five-foot box.
SCENE 01 — 15s
The Emergency Button
The car jolts hard right as the doors seal. Luna panics, hits the emergency call, and gets nothing back but static — a beat that had to be re-shot once the panel confused floor buttons with the actual emergency call, and once more to get a real handheld operator feel instead of a security-camera angle.
Full shot prompt
Visual style: Realistic, cinematic film coverage shot by a human camera operator physically present inside the elevator with them — not a fixed security camera, not a locked-off mount, not a wide-angle or fisheye lens at any point. Vertical 9:16. Standard natural focal length throughout. Camera is handheld throughout, held at natural adult eye level, close to the actors, with the organic sway, small re-adjustments, breathing motion, and slight imperfection of a real person operating a camera in a tight space. No captions, no text. Natural sound effects present — a hard metallic jolt when the elevator shakes, electrical flickering/buzzing from the lights, a physical button-press click, dead-line static followed by silence. No music. Characters: LUNA — exact match to @luna. Right now: full panic, breathing fast, eyes wide, moving urgently toward the control panel while repeating "No, no, no—" under her breath, voice rising into real fear. DAVE — exact match to @dave. Right now: alarmed but trying to stay calm, moving toward Luna with genuine concern, hands raised gently, voice low and steady, taken aback when she pushes him away. Setting: Exact match to @elevator-interior. The control panel has two clearly separate elements: a small vertical column of numbered floor buttons, and a single distinct red/amber EMERGENCY CALL button set apart in its own section, labeled "EMERGENCY" with a phone icon above it. SHOT 1 (00:00–00:03) — THE SHAKE HITS, SHE PANICS Handheld medium-wide, standard natural focal length, close and intimate. The elevator shakes hard right at the start — a sudden jolt with a loud metallic clank. Lights flicker hard. Luna lunges toward the control panel: "No, no, no—" Dave turns toward her, alarmed. SHOT 2 (00:03–00:05) — THE EMERGENCY BUTTON PRESS — EXCLUSIVE CLOSE-UP Extreme close-up on only the emergency call button, its "EMERGENCY" label and phone icon, and Luna's hand. Her finger jabs the button specifically — not a floor number — a sharp click as it depresses and lights up. SHOT 3 (00:05–00:08) — SHE CALLS OUT INTO THE DEAD LINE Close on Luna's face near the speaker grille. "Can anybody hear me?!" A burst of static, then dead silence. SHOT 4 (00:08–00:10) — HER FACE, THE DEAD LINE LANDS Close-up on Luna, lights flickering across her features. Dave steps in: "Hey — hey, look at me. It's okay, we're okay." His hand reaches toward her shoulder. SHOT 5 (00:10–00:12) — SHE PUSHES HIM BACK Medium two-shot. Luna recoils, pushing his arm away: "No — back away." Dave raises both hands, stepping back. SHOT 6 (00:12–00:13.5) — SHE SLOUCHES TO THE FLOOR Wide shot. Luna's legs give out; she slides down the wall to the floor. SHOT 7 (00:13.5–00:15) — CLOSE-UP ON HER SLOUCHED Close-up on her exhausted face, flickering light washing across her, breathing slowing from panicked to shallow.
SCENE 02 — 15s
The Heat
A cold open on black-and-white security footage — the only shot in the whole series that breaks from handheld — before cutting hard into color for Dave trying to force the doors apart. His hand placement needed an explicit left/right spec after early passes rendered both palms pressed to the same panel instead of pushing the seam apart.
Full shot prompt
Visual style: Opens with black and white security camera footage — a fixed high-angle corner-mounted CCTV look, slight fisheye distortion, faint scan lines, low frame rate. This is the ONLY shot using this look. After that, full cinematic coverage shot by a human operator physically present in the elevator — handheld, natural focal length, no fisheye, close and intimate. Natural sound effects — labored breathing, metallic scraping, grunts of effort, ambient hum. No music. Characters: LUNA — exact match to @luna. Still visibly overheated, flushed, sweat glossing her skin. Fanning herself weakly, watching Dave. DAVE — exact match to @dave. Drenched in sweat, shirt clinging, straining at the doors. Setting: Exact match to @elevator-interior. Air visibly hot and stagnant, faint heat-haze shimmer. SHOT 1 (00:00–00:03) — SECURITY CAMERA — THE HEAT HAS SET IN Black and white CCTV footage. Luna slumped on the floor, Dave at the doors, left hand pressed to the left panel, right hand to the right panel, pushing each side outward. SHOT 2 (00:03–00:07) — HANDHELD — DAVE STRAINS AT THE DOORS Hard cut to color, handheld, close. Dave's LEFT hand on the LEFT door panel, RIGHT hand on the RIGHT door panel, arms spread in a wide V, pushing each door in opposite directions. "Come on... come on!" The doors don't budge. SHOT 3 (00:07–00:10) — HANDHELD — LUNA WATCHING, OVERHEATED Close on Luna, flushed and sweating, fanning herself. "It's not gonna open like that." SHOT 4 (00:10–00:13) — HANDHELD — HE KEEPS TRYING ANYWAY Dave gives one final push, stumbles back defeated, hands on knees. "...Yeah. You're right." SHOT 5 (00:13–00:15) — HANDHELD — BOTH DEFEATED IN THE HEAT Wide two-shot, both worn down, heat still hanging visibly in the air between them.
SCENE 03 — 15s
The Jacket
A quiet beat built around a single mirrored gag — both characters swearing not to look, both peeking anyway. Both start the scene seated on the floor from the previous scene's exhaustion, rising only once Luna decides to act, which keeps the physical continuity honest across the cut.
Full shot prompt
Visual style: Realistic, cinematic, handheld, natural focal length, close and intimate, natural adult eye level. Natural sound effects — fabric rustling, quiet breathing, faint ambient hum. No music. Characters: LUNA — exact match to @luna. Seated on the floor, still overheated. Breaks the silence first, practical rather than flirtatious, self-conscious about removing a layer, then unable to resist peeking. DAVE — exact match to @dave. Seated near the doors. Quietly compliant, then caught in the same guilty impulse. Setting: Exact match to @elevator-interior. Air still hot and stagnant. Both begin seated in opposite areas, then rise to standing, moving to opposite diagonal corners. SHOT 1 (00:00–00:03) — THE HEAT BREAKS THE SILENCE Both seated on the floor. Luna tugs at her collar: "I can't breathe in this jacket." A beat: "I'm gonna take it off." She pushes herself up to stand. SHOT 2 (00:03–00:05) — SHE TELLS HIM TO TURN AROUND Luna standing, firm but not unkind: "Turn around. Don't look." Dave, easy shrug, standing too: "Yeah, of course." SHOT 3 (00:05–00:08) — BOTH TURNED, BACKS TO EACH OTHER Both standing in diagonal corners, backs turned. Luna begins unbuttoning her blazer, glancing back once to confirm. SHOT 4 (00:08–00:11) — HER PEEK Luna slides the blazer off, can't resist glancing back at Dave — a small private grin when she sees his back still turned. SHOT 5 (00:11–00:13) — HIS PEEK Dave removing his own blazer, glances back at Luna too — the same guilty impulse, a caught-red-handed smirk. SHOT 6 (00:13–00:15) — BOTH SETTLING, STILL NOT LOOKING Wide two-shot, both blazers off, still facing their corners, both fighting small smiles neither lets the other see. The tension left unresolved.
Sequence continues — additional floors in production