视频 · Seedance 2.5
虚构地震灾后现场的30秒直播新闻模拟
生成一段具有电视新闻纪实质感的虚构地震灾后报道视频，包含12个连续镜头、记者采访、救援行动、余震与统一的虚构播报图形。
ᴍᴜʀᴘʜʏ@Diplomeme
Prompt
Seedance 2.5
30秒虚构直播新闻报道。
试试这个提示词：30秒 | 16:9 | 12镜头真人实拍新闻模拟
虚构戏剧化演绎。纪录片风格的视觉写实感。
FICTIONAL NEWS BROADCAST — NOT REAL NEWS FOOTAGE.
场景
一座虚构的哥伦比亚城市，处于一场虚构的大地震之后。
时间：白天过渡到傍晚。
受损的城市街道、开裂的道路、破碎的窗户、部分受损的建筑、应急车辆、救援人员、忧心忡忡的居民、灰尘和碎石。
地道的哥伦比亚建筑风貌、西班牙语标识和真实的城市活动。
不涉及任何真实城市、真实地震、真实受害者或真实灾难画面。
角色
一位虚构的哥伦比亚男性现场记者，年龄在30多岁后期，体型中等，短黑发，修剪整齐的胡须，身穿深色防水新闻外套，佩戴虚构的记者证件，手持专业手持麦克风。
虚构的应急救援人员、消防员、警察、救援工作者和当地居民。
在整个片段中保持面孔、服装、发型、外貌和角色身份一致。
人物行为保持贴近现实、克制。
故事
00–02.5s — 直播开场建立镜头
手持电视新闻广角镜头，拍摄一条受损的虚构哥伦比亚城市街道。
应急车辆穿过画面，居民聚集在受损建筑附近。
逼真的新闻图形：
画面一角的虚构频道标志
LIVE SIMULATION 指示标识
“COLOMBIA”地点标签
底部突发新闻滚动字幕条
时间指示
图形始终锁定在直播画面框架上。
02.5–05s — 记者出现
镜头向站在应急车辆旁的记者移动。
他直视镜头。
出现下三分之一字幕条：
[FICTIONAL CHANNEL]
LIVE SIMULATION
COLOMBIA
他开始讲话，身后救援活动仍在继续。
05–07.5s — 受损情况
镜头转向一栋受损建筑。
破碎的窗户、开裂的混凝土和散落的碎石充满画面。
应急人员小心地绕着建筑结构移动。
滚动字幕条继续沿屏幕底部滚动。
07.5–10s — 救援
手持镜头跟随救援人员小心地搬移碎石。
一名救援人员示意保持安静。
摄影师停下并倾听。
画面中只可见真实的应急活动。
10–12.5s — 当地居民
切到一位站在受损建筑外的虚构当地居民。
下三分之一字幕条：
LOCAL RESIDENT
FICTIONAL INTERVIEW
记者问道：
“What did you feel when the earthquake happened?”
居民开始自然地回答。
12.5–15s — 反应
手持近景镜头拍摄居民继续讲述。
其他虚构居民携带随身物品在背景中走动。
记者在画外倾听。
不要夸张的情绪表演。
15–17.5s — 突发更新
回到记者。
他触碰自己的耳机。
出现一条克制的播报横幅：
BREAKING UPDATE
AFTERSHOCK REPORTED
记者望向受损的建筑。
17.5–20s — 余震
一次明显的余震开始。
镜头自然地晃动。
受损结构上落下灰尘。
人们本能地远离建筑。
应急人员发出简短指示。
实体镜头晃动时，播出图形保持完全锁定在屏幕上。
20–22.5s — 救援响应
镜头跟随应急人员穿过街道。
一辆应急车辆从镜头附近驶过。
警笛声变得更响。
滚动字幕条继续滚动。
不展示任何伤者。
22.5–25s — 直播更新
镜头回到记者。
下三分之一字幕条：
[REPORTER NAME]
FIELD REPORTER
他说：
“Emergency crews are continuing rescue operations as authorities assess the situation.”
应急车辆仍可见于他身后。
25–27.5s — 更广阔的灾后景象
手持广角镜头展现虚构受损街区的规模。
救援队、警察、平民和应急车辆充满街道。
灰尘慢慢落定。
LIVE SIMULATION 指示标识保持可见。
27.5–30s — 最后的直播画面
记者转向远处的警笛声。
镜头摇向在受损街道上行驶的应急车辆。
出现全宽播报横幅：
BREAKING UPDATE
EARTHQUAKE AFTERMATH
FICTIONAL NEWS SIMULATION
频道标志、LIVE SIMULATION 指示标识、地点标签和滚动字幕条保持可见。
切黑。
摄影机
贴近现实的直播新闻纪录片摄影。
混合：
广角环境新闻报道
中景记者出镜镜头
手持救援画面
简短的采访视角
近景反应镜头
每个2.5秒的镜头都必须像是由同一个新闻摄制组拍摄的画面。
自然的手持不稳定感。
逼真的摄影师动作。
合理的机位。
自动对焦来回搜索。
轻微的构图修正。
自然的运动模糊。
逼真的广播摄像机曝光。
不要不可能的镜头运动。
不要漂浮的镜头。
不要过度慢动作。
不要电影感的无人机转场。
不要精致的好莱坞灾难片摄影。
灯光
灯光来自真实环境。
自然日光逐渐过渡到傍晚。
在开阔街道、建筑阴影、应急车辆和多尘环境之间呈现自然的曝光变化。
逼真的高光过渡。
深邃但有细节的阴影。
应急灯光自然地照亮附近表面。
不要人工轮廓光。
不要夸张的灾难灯光。
物理
真实的重力和动量。
建筑、车辆和碎石具有可信的重量感。
灰尘对运动做出自然反应。
松散物体对余震震动做出真实反应。
应急车辆以真实的动量移动。
人们始终与地面保持接触。
衣物对风和运动做出自然反应。
不要漂浮的碎石。
不要不可能的建筑倒塌。
不要夸张的地震效果。
人物表演
在虚构的灾难模拟中，行为克制、可信。
记者保持专业，但明显显露担忧。
救援人员通过手势和简短指令交流。
居民表现出困惑、疲惫和焦虑。
余震期间，人们本能地远离不稳固的结构。
不要无缘无故地尖叫。
不要夸张的面部表情。
不要英雄式摆拍。
不要戏剧化的灾难表演。
音频
真实的直播新闻环境。
远处的警笛声。
应急车辆的引擎声。
救援设备声。
混凝土和碎石上的脚步声。
背景中人们说西班牙语。
风穿过受损街道。
远处的车流声。
无线电通讯声。
记者的麦克风音频。
自然的摄像机操作声。
记者的对白保持清晰可辨。
不要音乐。
不要过度的好莱坞预告片音效。
不要人工低频重击。
不要戏剧化的地震音效。
视觉特质
照片级写实的真人实拍画面。
真实的电视新闻纪录片气质。
自然的哥伦比亚城市环境。
自然的皮肤质感。
逼真的服装和应急装备。
可信的虚构结构损毁。
细微的传感器噪点。
自然的运动模糊。
不完美的手持构图。
逼真的广播摄像机曝光。
这段画面应当像一段专业制作的虚构新闻模拟，而不是真实的新闻报道。
播出图形
整个片段中使用逼真的专业电视新闻界面。
虚构频道标志始终固定在画面一角。
LIVE SIMULATION 指示标识保持可见。
地点标识保持可见。
下三分之一字幕条仅在介绍记者或受访者时出现。
重大进展发生时出现突发更新横幅。
底部滚动字幕条持续滚动简短的虚构新闻更新。
时间指示保持一致。
图形必须完全锁定在直播画面框架上。
不要悬浮的文字。
不要过大的字体。
不要未来感的全息界面。
不要过度动画。
不要随机的图形变化。
不要真实的电视网络标志。
播出界面应像真实的直播电视，同时保持明显的虚构性。
避免：
真实的新闻网络品牌
真实的地震画面
真实的受害者影像
真实的伤亡数字
血腥直白的伤势画面
尸体
电子游戏美学
CGI外观
过度HDR
过饱和的应急灯光
塑料感的面孔
不可能的破坏
漂浮的碎石
编排得过于完美的救援人员
美颜滤镜般的面孔
好莱坞式的灾难奇观
夸张的爆炸
看起来虚假的新闻图形
连贯性
在全部12个镜头中，保持记者身份、服装、麦克风、应急人员、车辆、建筑和受损街道一致。
保持地理方位和画面方向。
在各镜头之间保持同一个虚构受损街区和环境条件。
保持虚构频道标志、LIVE SIMULATION 指示标识、字体、下三分之一字幕条位置、滚动字幕条位置和播出图形一致。
即使手持摄像机晃动，图形也固定在摄像机画面框架上。
虚构的地震灾后景象在每个机位角度下都保持物理一致。
余震从其发生前一刻确立的物理状态开始，并自然地影响灰尘、碎石、人物和镜头运动。
每个2.5秒的镜头都从上一个镜头确立的物理状态开始。
整个片段必须像一段连续的虚构直播新闻模拟，而不是十二个互不相连的片段。
结尾停在悬而未决的新闻报道紧张感上。Seedance 2.5
30 seconds of Fictional Live news reporting.
Try it with prompt : 30 seconds | 16:9 | 12-shot live-action news simulation
Fictional dramatization. Documentary-style visual realism.
FICTIONAL NEWS BROADCAST — NOT REAL NEWS FOOTAGE.
SETTING
A fictional Colombian city during the aftermath of a fictional major earthquake.
Time: daytime transitioning into early evening.
Damaged urban streets, cracked roads, broken windows, partially damaged buildings, emergency vehicles, rescue crews, concerned residents, dust and debris.
Authentic Colombian architectural character, Spanish signage and realistic urban activity.
No real city, real earthquake, real victims or real disaster footage is referenced.
CHARACTERS
A fictional Colombian male field reporter in his late 30s, average build, short dark hair, trimmed beard, wearing a dark waterproof news jacket with a fictional press identification badge and holding a professional handheld microphone.
Fictional emergency responders, firefighters, police officers, rescue workers and local residents.
Maintain consistent faces, clothing, hairstyle, physical appearance and character identities throughout the sequence.
Human behaviour remains grounded and restrained.
STORY
00–02.5s — LIVE ESTABLISHING
Wide handheld television-news shot of a damaged fictional Colombian city street.
Emergency vehicles move through the frame while residents gather near damaged buildings.
REALISTIC NEWS GRAPHICS:
fictional channel logo in upper corner
LIVE SIMULATION indicator
“COLOMBIA” location tag
bottom breaking-news ticker
time indicator
Graphics remain locked to the broadcast frame.
02.5–05s — REPORTER ARRIVES
The camera moves toward the reporter standing beside emergency vehicles.
He looks directly into the lens.
Lower-third appears:
[FICTIONAL CHANNEL]
LIVE SIMULATION
COLOMBIA
He begins speaking while rescue activity continues behind him.
05–07.5s — DAMAGE
Camera turns toward a damaged building.
Broken windows, cracked concrete and scattered debris fill the frame.
Emergency workers move cautiously around the structure.
Ticker continues along the bottom of the screen.
07.5–10s — RESCUE
Handheld camera follows rescue workers carefully moving debris.
One responder signals for silence.
The camera operator stops and listens.
Only realistic emergency activity is visible.
10–12.5s — LOCAL RESIDENT
Cut to a fictional local resident standing outside a damaged building.
Lower-third:
LOCAL RESIDENT
FICTIONAL INTERVIEW
The reporter asks:
“What did you feel when the earthquake happened?”
The resident begins answering naturally.
12.5–15s — REACTION
Close handheld shot of the resident continuing to speak.
Other fictional residents move through the background carrying belongings.
The reporter listens off-camera.
No exaggerated emotional performance.
15–17.5s — BREAKING UPDATE
Return to the reporter.
He touches his earpiece.
A restrained broadcast banner appears:
BREAKING UPDATE
AFTERSHOCK REPORTED
The reporter looks toward the damaged buildings.
17.5–20s — AFTERSHOCK
A noticeable aftershock begins.
The camera shakes naturally.
Dust falls from a damaged structure.
People instinctively move away from the building.
Emergency workers give short instructions.
Broadcast graphics remain perfectly screen-locked while the physical camera shakes.
20–22.5s — RESCUE RESPONSE
Camera follows emergency workers moving through the street.
An emergency vehicle passes near the camera.
Sirens become louder.
The ticker continues scrolling.
No injuries are shown.
22.5–25s — LIVE UPDATE
Camera returns to the reporter.
Lower-third:
[REPORTER NAME]
FIELD REPORTER
He says:
“Emergency crews are continuing rescue operations as authorities assess the situation.”
Emergency vehicles remain visible behind him.
25–27.5s — WIDER AFTERMATH
Wide handheld shot reveals the scale of the fictional damaged neighborhood.
Rescue crews, police, civilians and emergency vehicles fill the street.
Dust slowly settles.
The LIVE SIMULATION indicator remains visible.
27.5–30s — FINAL LIVE IMAGE
The reporter turns toward a distant siren.
Camera pans toward emergency vehicles moving through the damaged street.
Full-width broadcast banner appears:
BREAKING UPDATE
EARTHQUAKE AFTERMATH
FICTIONAL NEWS SIMULATION
Channel logo, LIVE SIMULATION indicator, location tag and ticker remain visible.
Cut to black.
CAMERA
Grounded live-news documentary cinematography.
Mix:
wide environmental news coverage
medium reporter stand-up shots
handheld rescue footage
brief interview perspectives
close reaction shots
Each 2.5-second shot must feel like footage captured by the same news camera crew.
Natural handheld instability.
Realistic operator movement.
Plausible camera positions.
Autofocus hunting.
Small framing corrections.
Natural motion blur.
Realistic broadcast-camera exposure.
No impossible camera movement.
No floating camera.
No excessive slow motion.
No cinematic drone transitions.
No polished Hollywood disaster cinematography.
LIGHTING
Lighting originates from the actual environment.
Natural daylight gradually transitioning toward early evening.
Natural exposure changes between open streets, building shadows, emergency vehicles and dusty environments.
Realistic highlight roll-off.
Deep but detailed shadows.
Emergency lights illuminate nearby surfaces naturally.
No artificial rim lighting.
No exaggerated disaster lighting.
PHYSICS
Real gravity and momentum.
Buildings, vehicles and debris have believable weight.
Dust reacts naturally to movement.
Loose objects respond realistically to aftershock vibrations.
Emergency vehicles move with realistic momentum.
People maintain contact with the ground.
Clothing responds naturally to wind and movement.
No floating debris.
No impossible building collapses.
No exaggerated earthquake effects.
HUMAN PERFORMANCE
Restrained, believable behaviour during a fictional disaster simulation.
The reporter remains professional but visibly concerned.
Rescuers communicate through gestures and short commands.
Residents show confusion, exhaustion and anxiety.
People instinctively move away from unstable structures during the aftershock.
No screaming without cause.
No exaggerated facial expressions.
No heroic posing.
No theatrical disaster acting.
AUDIO
Authentic live-news environment.
Distant sirens.
Emergency vehicle engines.
Rescue equipment.
Footsteps on concrete and debris.
People speaking Spanish in the background.
Wind moving through damaged streets.
Distant traffic.
Radio communication.
Reporter microphone audio.
Natural camera handling sounds.
Reporter dialogue remains clearly intelligible.
No music.
No oversized Hollywood trailer effects.
No artificial bass drops.
No dramatic earthquake sound effects.
VISUAL CHARACTER
Photorealistic live-action footage.
Authentic television-news documentary character.
Natural Colombian urban environment.
Natural skin texture.
Realistic clothing and emergency equipment.
Believable fictional structural damage.
Subtle sensor noise.
Natural motion blur.
Imperfect handheld framing.
Realistic broadcast-camera exposure.
The footage should feel like a professionally produced fictional news simulation rather than an actual news report.
BROADCAST GRAPHICS
Realistic professional television-news interface throughout the entire sequence.
Fictional channel logo remains consistently positioned in the upper corner.
LIVE SIMULATION indicator remains visible.
Location identifier remains visible.
Lower-thirds appear only when introducing the reporter or interview subject.
Breaking-update banners appear during major developments.
Bottom ticker continuously scrolls short fictional news updates.
Time indicator remains consistent.
Graphics must remain perfectly screen-locked to the broadcast frame.
No floating text.
No oversized typography.
No futuristic holographic interfaces.
No excessive animation.
No random graphic changes.
No real television network logos.
The broadcast interface should feel like genuine live television while remaining clearly fictional.
Avoid:
real news network branding
real earthquake footage
real victim imagery
real casualty numbers
graphic injuries
corpses
video-game aesthetics
CGI appearance
excessive HDR
oversaturated emergency lights
plastic-looking faces
impossible destruction
floating debris
perfectly choreographed rescue workers
beauty-filter faces
Hollywood-style disaster spectacle
exaggerated explosions
fake-looking news graphics
CONTINUITY
Maintain consistent reporter identity, clothing, microphone, emergency responders, vehicles, buildings and damaged streets throughout all 12 shots.
Preserve geographic orientation and screen direction.
Maintain the same fictional damaged neighborhood and environmental conditions between shots.
Maintain consistent fictional channel logo, LIVE SIMULATION indicator, typography, lower-third placement, ticker position and broadcast graphics.
Graphics remain fixed to the camera frame even when the handheld camera shakes.
The fictional earthquake aftermath remains physically consistent across every camera angle.
The aftershock begins from the physical state established immediately before it and naturally affects dust, debris, people and camera movement.
Every 2.5-second shot begins from the physical state established by the previous shot.
The entire sequence must feel like one continuous fictional live-news simulation rather than twelve disconnected clips.
End on unresolved news-report tension.
使用建议
使用建议：在支持长视频或分段生成的模型中使用，按16:9、30秒和12个连续镜头执行；确认模型能处理多镜头人物与场景连续性，并保留“虚构模拟”标识，避免被误认为真实新闻。
