可換角廣告模板：角色鎖 + 海報鎖，城市變身即插即用

提示詞

I made an ad for GPT Image 2.5, full prompt below.

It's yours now. Put your own character in @[image1], your own poster in @[image2], change the city, change what she turns into. Quote this with your version, I want to see what you all make of it.

Seedance 2.5 on @higgsfield.

Seedance 2.5 Prompt:
[GLOBAL] 30-second commercial. Photoreal live-action cinema texture, digital cinema camera, 35mm and 24mm lenses, shallow depth of field, real overcast rain-light, low-contrast cool grade, light film grain. 16:9. The spine of the film is one continuous over-the-shoulder tracking shot; all transitions are hidden inside motion blur and the crystallization effect.

[CHARACTER ANCHOR] @[image1] = the protagonist, a Japanese woman in her early twenties with a Tokyo street-fashion look: bleached pale-blonde wolf-cut shag with dark roots and a single mint-green streak in the under-layer; clean Japanese makeup — thin brows, pearlescent eyeshadow, nude lip; an oversized charcoal coach jacket with an original graphic print on the back, a long white tee underneath, baggy black cargo pants, chunky platform sneakers, layered silver jewelry, wired over-ear headphones around her neck, a small crossbody bag. Her face, hair and wardrobe stay 100% identical from 0s to 28s — never altered, never touched by any "generation" effect. She is the only constant in the film until the final beat. Emotional arc: oblivious → noticing → confused → stunned → awestruck → transformed.

[ARTWORK REFERENCE] @[image2] = the billboard artwork reference. Used ONLY for the flat graphic displayed on the bus-shelter digital billboard at 11–15s — including its complete typographic lockup ("Higgsfield × OpenAI" in small caps, "GPT IMAGE" in heavy white, the lime-green gradient "2.5", and the wide-tracked "SUNBURST" beneath), along with its layout, palette and composition. @[image2] must appear as a complete flat advertising image inside the billboard screen, carrying correct perspective, screen reflection and rain refraction across the glass surface. The woman pictured in @[image2] must NEVER be used for the protagonist's design, must NEVER leave the billboard screen, and must NEVER appear in the physical space of the scene. @[image1] and the woman in @[image2] are two entirely different people — never conflate them, never let one influence the other.

[CORE VISUAL MOTIF — THE ONLY TRANSFORMATION LANGUAGE IN THE FILM] Anything being "regenerated" must follow the exact same three-stage process: ① the original object disintegrates from its edges into a cloud of tens of thousands of small translucent white crystalline beads — like bubble-film or shattered glass pearls, with real volume, specular highlights and real weight; ② the bead cloud hangs briefly and rapidly rearranges; ③ the new form grows outward from inside the cloud, the final layer of beads absorbing into its surface and vanishing. Do NOT use flash cuts, dissolves, particle-dispersal effects, or digital-glitch styling for any transformation.

[SETTING] A Midtown Manhattan intersection after rain. Wet asphalt reflections, crosswalk stripes, yellow cabs, dense glass curtain walls and older stone buildings, neon and storefront signage, a fire hydrant, a newsstand, a bus-shelter digital billboard. Overcast diffused light throughout, no direct sun.

0–3s: Over-the-shoulder medium shot, following behind @[image1]. Her back is to camera as she stands on the crosswalk. To frame right, a 1970s green sedan in motion crystallizes entirely and reassembles as a black muscle car; a few frames later it crystallizes again and reassembles as a white wheel-less hover car. She hasn't registered it yet.

3–7s: The camera arcs around to her side. She starts looking around, the ends of her wolf cut swinging with the head turn. A businessman with a briefcase crystallizes mid-stride — the human-shaped bead cloud holds the walking pose for two full steps — and reassembles as a bare-chested barbarian warrior with feathered ornaments, continuing the same stride. Two or three more pedestrians crystallize in the background simultaneously, without pulling focus from her.

7–11s: Handheld tracking accelerates. More and more people on the street are replaced: a purple-skinned alien warrior woman, white-armored robot troopers, an original gold-suited superhero character (all original designs — no real-world recognizable characters, logos or trademarks). She walks faster, keeps turning to look back, her breathing quickening, one hand instinctively gripping her crossbody strap. The replacement frequency keeps rising, but the street's spatial relationships, lighting and wet reflections remain continuous throughout — no jump cuts.

11–15s: She stops in front of the bus shelter. The digital billboard inside cycles rapidly: a photoreal movie poster → a hand-painted concept illustration → a fashion editorial — each refresh executed with the same crystalline bead reassembly. It finally settles on the complete @[image2] artwork filling the entire screen, its typography and palette exactly as in @[image2]. She raises a hand and points at the screen, mouth open, unable to speak.

15–18s: The camera tilts down to her feet. The sidewalk paving crystallizes outward from where she stands in a perfect circle, white beads spreading three meters along the joints between slabs, the manhole cover and the standing water turning crystalline with it. She looks down. The ground gives out beneath her platform sneakers.

18–21s: Wide 24mm. The ground collapses and she falls straight down. The camera falls with her looking up — the entire city contracts above her into a shrinking square opening, the buildings on either side peeling away, tumbling and receding upward like building blocks, the sky turning to deep blue-black void. She throws her arms out, her hair, jacket hem and bag strap lifted by the updraft.

21–24s: During the fall the visual style jumps repeatedly, each jump bridged by one full-frame sweep of crystalline beads. In order: ① rich 1980s film stock — high saturation, heavy halation, heavy grain; ② black-and-white halftone manga panel — the character rendered in ink linework and dot screens against dense radial speed lines; ③ a neon purple-blue digital vortex with long light streaks stretching backward at speed; ④ near-total darkness with extreme motion blur. Her facial structure, hair and wardrobe must remain recognizably the same person in every one of these styles.

24–27s: She lands flat on her back on a smooth white floor. A wide lens pushes in slowly and tilts up to reveal the environment: an infinitely extending pure-white showroom/hangar with a gridded softbox ceiling. Hundreds of black circular pedestals cover the floor, each holding a character statue or a parked vehicle — original-design warriors, mechs, robots, sci-fi troopers, plus large military aircraft and helicopters. A small line of floating white label text sits in front of each pedestal: "FANTASY CHARACTER", "VEHICLE", "MECH" — set at a small point size, present purely as environmental information.

27–28s: She sits up and pushes herself to her feet, turning slowly to take in the hall, eyes widening in awe. The camera settles into a full-body medium-wide, centered, the statue array receding out of focus behind her.

28–30s [THE FINAL TRANSFORMATION]: The instant she stands fully upright, the crystalline beads rise from the floor around her feet and sweep up her body in one continuous wave — and for the first time in the film, SHE is the thing being regenerated. Her streetwear disintegrates into the bead cloud and a magical-girl battle uniform grows outward in its place, following the exact same three-stage motif, generating in a readable order from the torso outward: a white high-collar fitted bodice → a mint-green sailor collar with three silver stripes → a deep mint pleated skirt with silver trim, its pleats opening one by one → long white gloves to the upper arm with mint piping → white knee-high boots with a mid heel and mint cuffs → layered silver jewelry reforming as a silver star brooch at her chest → a large mint-green bow at her back with long ribbons falling to the backs of her knees → a fine silver tiara condensing across her forehead. Her face, hairstyle, hair color, the mint streak and the headphones around her neck remain completely unchanged — only the clothing is regenerated. The last beads absorb into the fabric. She looks down at her own hands, then slowly raises her head, the ribbons still settling behind her, and looks straight past camera with a small, dawning smile. The film cuts on that frame. No end card, no title, no tagline, no subtitle of any kind.

[SOUND] Rain and wet-road traffic, urban ambient bed; high-frequency glass/ice shatter-and-rearrange sounds on every crystallization; a short bright locking tone as each reassembly completes; electronic refresh tones from the billboard; low-frequency collapse as the ground gives way; wind through the fall, with a distinct timbre shift for each of the four style jumps (film hiss / paper-and-ink texture / synth sweep / silence); one muffled impact on landing; near-total quiet inside the hall with only faint HVAC room tone; then, over the final transformation, an ascending shimmer of silk and crystal, each garment piece seating with a crisp click, the bow tying with a single sweep of ribbon, and one clear bell tone as the tiara locks in. One escalating electronic music bed ties it together, landing its final hit on her raised head.

[HARD RULES] @[image1]'s face, hairstyle, hair color and headphones are absolutely unchanged across all 30 seconds. Her wardrobe is unchanged from 0s to 28s and may be regenerated ONLY in the 28–30s final beat — the transformation affects clothing only and must never alter her face, hair or identity. All other replacements happen only to the people, vehicles, ground and environment around her. The film may use only the single "crystalline bead disintegration → rearrangement → growth" transformation language, including for the final costume change; no other transition effect may be mixed in. From 0–18s the film must hold the logic of one spatially continuous tracking shot — the street's architecture, lighting and wet reflections must never jump. Every character and vehicle in the hall must be an original design; no real-world recognizable characters, brand marks, trademarks or identifiable film properties may appear, and the final magical-girl uniform must be an original design, not any existing anime character's costume. The only brand copy permitted anywhere in the film is the @[image2] artwork on the billboard screen at 11–15s, existing solely as a flat image inside that screen and never repeated elsewhere. No end card, no title card, no subtitles, no watermark, no overlaid text anywhere in the film. Avoid: cartoon rendering, game-CG feel, plastic materials, full-frame bloom, digital-glitch transitions, weightless floating, incorrect finger structure, garbled text, revealing or suggestive posing or camera angles.

中文翻譯

我爲 GPT Image 2.5 做了一支廣告，完整 prompt 如下。

現在它是你的了。把你自己的角色放進 @[image1]，把你自己的海報放進 @[image2]，換掉城市，換掉她變身成的東西。引用這條並附上你的版本，我想看看大家能做出什麼。

Seedance 2.5，運行在 @higgsfield 上。

Seedance 2.5 Prompt：
[GLOBAL] 30 秒廣告。寫實真人電影質感，數字電影攝影機，35mm 與 24mm 鏡頭，淺景深，真實的陰天雨光，低對比冷色調，輕微膠片顆粒。16:9。整片的脊樑是一鏡到底的過肩跟拍；所有轉場都隱藏在運動模糊與結晶化效果之中。

[CHARACTER ANCHOR] @[image1] = 主角，一位二十出頭的日本女性，東京街頭時尚造型：漂染的淺金色狼尾層次剪，深色髮根，內層有一縷薄荷綠挑染；乾淨的日系妝容——細眉、珠光眼影、裸色脣；一件 oversized 炭灰色 coach jacket，背後是原創圖案印花，內搭長款白 T，寬鬆黑色工裝褲，厚底鬆糕運動鞋，多層銀飾，脖子上掛着一副有線頭戴式耳機，還有一個小號斜挎包。從 0s 到 28s，她的臉、髮型與服裝保持 100% 一致——絕不被改變，絕不被任何“生成”效果觸碰。在最後一個節拍之前，她是全片唯一恆定的元素。情緒弧線：毫無察覺 → 注意到 → 困惑 → 震驚 → 敬畏 → 蛻變。

[ARTWORK REFERENCE] @[image2] = 廣告牌畫面參考。僅用於 11–15s 公交候車亭數字廣告牌上顯示的那張平面圖形——包括它完整的字體組合（small caps 的“Higgsfield × OpenAI”、粗白體的“GPT IMAGE”、青檸綠漸變的“2.5”，以及下方寬字距的“SUNBURST”），連同它的版式、色板與構圖。@[image2] 必須作爲一張完整的平面廣告圖像出現在廣告牌屏幕內，帶有正確的透視、屏幕反光，以及雨水在玻璃表面的折射。@[image2] 中出鏡的女性絕對不可用於主角的設計，絕對不可離開廣告牌屏幕，也絕對不可出現在場景的物理空間中。@[image1] 與 @[image2] 中的女性是兩個完全不同的人——絕不要把她們混爲一談，絕不要讓其中一個影響另一個。

[CORE VISUAL MOTIF —— 全片唯一的變身語言] 任何被“重新生成”的對象都必須遵循完全相同的三階段過程：① 原物體從邊緣開始崩解，化爲由數萬顆半透明白色結晶小珠組成的雲霧——像氣泡膜或碎裂的玻璃珠，具備真實體積、鏡面高光與真實重量；② 珠霧短暫懸停，隨後快速重排；③ 新形態從珠霧內部向外生長，最後一層珠子被其表面吸收並消失。任何變身都不得使用閃切、疊化、粒子消散效果或數字故障風格。

[SETTING] 雨後曼哈頓中城的一個十字路口。溼瀝青的反光、人行橫道的條紋、黃色出租車、密集的玻璃幕牆與更老的石砌建築、霓虹與店鋪招牌、一個消防栓、一個報刊亭、一塊公交候車亭數字廣告牌。全程陰天漫射光，沒有直射陽光。

0–3s：過肩中景，跟在 @[image1] 身後。她站在人行橫道上，背對鏡頭。畫面右側，一輛行駛中的 1970 年代綠色轎車整體結晶化，重組成一輛黑色肌肉車；幾幀之後它再次結晶化，重組成一輛白色無輪懸浮車。她還沒有察覺。

3–7s：攝影機繞到她的側面。她開始環顧四周，狼尾剪的髮梢隨着轉頭擺動。一個提着公文包的商務人士在邁步途中結晶化——人形珠霧保持行走姿態整整兩步——然後重組成一名赤裸上身、佩戴羽毛飾物的野蠻人戰士，繼續同樣的步幅。背景中另有兩三名行人同時結晶化，但不會把焦點從她身上搶走。

7–11s：手持跟拍加速。街上越來越多的人被替換：一名紫皮膚的外星女戰士、白色裝甲的機器人士兵、一個原創的金色戰衣超級英雄角色（全部爲原創設計——沒有任何現實世界中可辨識的角色、logo 或商標）。她走得更快，不斷轉頭回望，呼吸變得急促，一隻手本能地抓緊斜挎包的揹帶。替換頻率持續升高，但街道的空間關係、光照與溼地面反光全程保持連續——沒有跳切。

11–15s：她停在公交候車亭前。裏面的數字廣告牌快速輪播：一張寫實電影海報 → 一張手繪概念插畫 → 一組時尚大片——每次刷新都以相同的結晶珠重排完成。它最終定格在完整的 @[image2] 畫面上，鋪滿整塊屏幕，其字體與色板與 @[image2] 完全一致。她抬起一隻手，指着屏幕，張着嘴，說不出話。

15–18s：攝影機下搖到她的腳部。人行道鋪裝以她站立處爲中心向外結晶成一個完美的圓形，白色珠子沿着石板之間的縫隙擴散三米，井蓋和積水也隨之結晶化。她低頭看。她厚底運動鞋下方的地面塌陷了。

18–21s：24mm 廣角。地面崩塌，她筆直墜落。攝影機隨她一起下落並向上仰拍——整座城市在她上方收縮成一個不斷縮小的方形開口，兩側的建築像積木一樣剝落、翻滾着向上退去，天空化爲深藍黑色的虛空。她張開雙臂，頭髮、外套下襬和包帶都被上升氣流托起。

21–24s：墜落過程中視覺風格反覆跳變，每次跳變都由一整幀掃過的結晶珠來銜接。依次爲：① 濃鬱的 1980 年代膠片質感——高飽和、重光暈、重顆粒；② 黑白半調漫畫分鏡——角色以墨線勾勒與網點呈現，背景是密集的放射狀速度線；③ 一個霓虹紫藍色的數字漩渦，長長的光帶以高速向後拉伸；④ 近乎全黑，配極端的運動模糊。在以上每一種風格中，她的面部結構、髮型與服裝都必須能辨認出是同一個人。

24–27s：她仰面平摔在光滑的白色地面上。一枚廣角鏡頭緩慢推進並上搖，揭示出環境：一個無限延伸的純白展廳/機庫，天花板是網格狀柔光箱。地面上佈滿數百個黑色圓形基座，每個基座上都立着一尊角色雕像或停放着一臺載具——原創設計的戰士、機甲、機器人、科幻士兵，以及大型軍用飛機和直升機。每個基座前方都懸浮着一行白色小字標籤：“FANTASY CHARACTER”、“VEHICLE”、“MECH”——字號很小，純粹作爲環境信息存在。

27–28s：她坐起身，撐地站起，緩緩轉身環視大廳，眼睛因敬畏而睜大。攝影機穩定爲居中的全身中遠景，身後的雕像陣列漸漸虛化。

28–30s [最終變身]：她完全站直的那一刻，結晶珠從她腳邊的地面升起，以一道連續的波浪掃過她的身體——這是全片第一次，她自己成了被重新生成的對象。她的街頭服裝崩解成珠霧，一套魔法少女戰鬥服在原位向外生長，遵循完全相同的三階段母題，從軀幹向外以可讀的順序生成：白色高領貼身胸衣 → 帶三道銀色條紋的薄荷綠水手領 → 帶銀色鑲邊的深薄荷綠百褶裙，裙褶逐一展開 → 延伸至上臂的長款白手套，帶薄荷綠滾邊 → 白色及膝靴，中跟，薄荷綠靴口 → 層疊銀飾重組爲她胸前的銀色星形胸針 → 背後一個巨大的薄荷綠蝴蝶結，長飄帶垂到膝後 → 一道纖細的銀色冠冕在她額前凝結成形。她的臉、髮型、髮色、那縷薄荷綠挑染以及脖子上的耳機完全不變——只有服裝被重新生成。最後的珠子被織物吸收。她低頭看自己的雙手，然後緩緩抬起頭，飄帶仍在身後落定，帶着一個剛剛浮現的淺淺微笑，直視鏡頭之外。影片在這一幀切斷。沒有片尾卡，沒有標題，沒有標語，沒有任何形式的字幕。

[SOUND] 雨聲與溼路面的車流聲，城市環境底噪；每一次結晶化都伴隨高頻的玻璃/冰碎裂與重排聲；每次重組完成時有一聲短促明亮的鎖定音；廣告牌發出電子刷新音；地面塌陷時的低頻崩塌聲；墜落過程中的風聲，四次風格跳變各有明顯不同的音色（膠片嘶聲 / 紙墨質感 / 合成器掃頻 / 靜默）；落地時一聲悶響；大廳內近乎全靜，只有微弱的空調室內底噪；隨後在最終變身之上，是一段絲緞與水晶般上升的閃光音，每一件衣物落位都伴隨清脆的一聲咔噠，蝴蝶結以一次緞帶揮掃繫緊，冠冕鎖定時有一聲清亮的鈴音。一段不斷推進的電子配樂把這一切串聯起來，並在她抬頭的那一瞬落下最終的重音。

[HARD RULES] @[image1] 的臉、髮型、髮色和耳機在整整 30 秒內絕對不變。她的服裝從 0s 到 28s 不變，只允許在 28–30s 的最終節拍被重新生成——變身隻影響服裝，絕不能改變她的臉、頭髮或身份。所有其他替換隻發生在她周圍的人、車輛、地面與環境上。影片只能使用唯一的“結晶珠崩解 → 重排 → 生長”變身語言，包括最終的換裝在內；不得混入任何其他轉場效果。從 0–18s，影片必須保持一鏡到底、空間連續的跟拍邏輯——街道的建築、光照與溼地面反光絕不能跳變。大廳中的每個角色和每臺載具都必須是原創設計；不得出現任何現實世界中可辨識的角色、品牌標識、商標或可識別的影視 IP，最終的魔法少女制服也必須是原創設計，而非任何現有動漫角色的服裝。全片唯一允許出現的品牌文案是 11–15s 廣告牌屏幕上的 @[image2] 畫面，它僅作爲該屏幕內的一張平面圖像存在，絕不在其他任何地方重復出現。沒有片尾卡，沒有標題卡，沒有字幕，沒有水印，全片任何位置都沒有疊加文字。避免：卡通渲染、遊戲 CG 感、塑料材質、全畫幅泛光、數字故障轉場、失重漂浮、錯誤的手指結構、亂碼文字、暴露或暗示性的姿勢或鏡頭角度。

溯源

原作者

Iancu_ai

發佈日期

2026-09-11

原始出處

查看原帖 ↗

收錄來源

xianyu110/awesome-gpt-image2.5 · 2098420840073236536 · MIT