可换角广告模板：角色锁 + 海报锁，城市变身即插即用

提示词

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.

中文译文

我为 GPT Image 2.5 做了一支广告，完整 prompt 如下。

现在它是你的了。把你自己的角色放进 @[image1]，把你自己的海报放进 @[image2]，换掉城市，换掉她变身成的东西。引用这条并附上你的版本，我想看看大家能做出什么。

Seedance 2.5，运行在 @higgsfield 上。

Seedance 2.5 Prompt：
[GLOBAL] 30 秒广告。写实真人电影质感，数字电影摄影机，35mm 与 24mm 镜头，浅景深，真实的阴天雨光，低对比冷色调，轻微胶片颗粒。16:9。整片的脊梁是一镜到底的过肩跟拍；所有转场都隐藏在运动模糊与结晶化效果之中。

[CHARACTER ANCHOR] @[image1] = 主角，一位二十出头的日本女性，东京街头时尚造型：漂染的浅金色狼尾层次剪，深色发根，内层有一缕薄荷绿挑染；干净的日系妆容——细眉、珠光眼影、裸色唇；一件 oversized 炭灰色 coach jacket，背后是原创图案印花，内搭长款白 T，宽松黑色工装裤，厚底松糕运动鞋，多层银饰，脖子上挂着一副有线头戴式耳机，还有一个小号斜挎包。从 0s 到 28s，她的脸、发型与服装保持 100% 一致——绝不被改变，绝不被任何“生成”效果触碰。在最后一个节拍之前，她是全片唯一恒定的元素。情绪弧线：毫无察觉 → 注意到 → 困惑 → 震惊 → 敬畏 → 蜕变。

[ARTWORK REFERENCE] @[image2] = 广告牌画面参考。仅用于 11–15s 公交候车亭数字广告牌上显示的那张平面图形——包括它完整的字体组合（small caps 的“Higgsfield × OpenAI”、粗白体的“GPT IMAGE”、青柠绿渐变的“2.5”，以及下方宽字距的“SUNBURST”），连同它的版式、色板与构图。@[image2] 必须作为一张完整的平面广告图像出现在广告牌屏幕内，带有正确的透视、屏幕反光，以及雨水在玻璃表面的折射。@[image2] 中出镜的女性绝对不可用于主角的设计，绝对不可离开广告牌屏幕，也绝对不可出现在场景的物理空间中。@[image1] 与 @[image2] 中的女性是两个完全不同的人——绝不要把她们混为一谈，绝不要让其中一个影响另一个。

[CORE VISUAL MOTIF —— 全片唯一的变身语言] 任何被“重新生成”的对象都必须遵循完全相同的三阶段过程：① 原物体从边缘开始崩解，化为由数万颗半透明白色结晶小珠组成的云雾——像气泡膜或碎裂的玻璃珠，具备真实体积、镜面高光与真实重量；② 珠雾短暂悬停，随后快速重排；③ 新形态从珠雾内部向外生长，最后一层珠子被其表面吸收并消失。任何变身都不得使用闪切、叠化、粒子消散效果或数字故障风格。

[SETTING] 雨后曼哈顿中城的一个十字路口。湿沥青的反光、人行横道的条纹、黄色出租车、密集的玻璃幕墙与更老的石砌建筑、霓虹与店铺招牌、一个消防栓、一个报刊亭、一块公交候车亭数字广告牌。全程阴天漫射光，没有直射阳光。

0–3s：过肩中景，跟在 @[image1] 身后。她站在人行横道上，背对镜头。画面右侧，一辆行驶中的 1970 年代绿色轿车整体结晶化，重组成一辆黑色肌肉车；几帧之后它再次结晶化，重组成一辆白色无轮悬浮车。她还没有察觉。

3–7s：摄影机绕到她的侧面。她开始环顾四周，狼尾剪的发梢随着转头摆动。一个提着公文包的商务人士在迈步途中结晶化——人形珠雾保持行走姿态整整两步——然后重组成一名赤裸上身、佩戴羽毛饰物的野蛮人战士，继续同样的步幅。背景中另有两三名行人同时结晶化，但不会把焦点从她身上抢走。

7–11s：手持跟拍加速。街上越来越多的人被替换：一名紫皮肤的外星女战士、白色装甲的机器人士兵、一个原创的金色战衣超级英雄角色（全部为原创设计——没有任何现实世界中可辨识的角色、logo 或商标）。她走得更快，不断转头回望，呼吸变得急促，一只手本能地抓紧斜挎包的背带。替换频率持续升高，但街道的空间关系、光照与湿地面反光全程保持连续——没有跳切。

11–15s：她停在公交候车亭前。里面的数字广告牌快速轮播：一张写实电影海报 → 一张手绘概念插画 → 一组时尚大片——每次刷新都以相同的结晶珠重排完成。它最终定格在完整的 @[image2] 画面上，铺满整块屏幕，其字体与色板与 @[image2] 完全一致。她抬起一只手，指着屏幕，张着嘴，说不出话。

15–18s：摄影机下摇到她的脚部。人行道铺装以她站立处为中心向外结晶成一个完美的圆形，白色珠子沿着石板之间的缝隙扩散三米，井盖和积水也随之结晶化。她低头看。她厚底运动鞋下方的地面塌陷了。

18–21s：24mm 广角。地面崩塌，她笔直坠落。摄影机随她一起下落并向上仰拍——整座城市在她上方收缩成一个不断缩小的方形开口，两侧的建筑像积木一样剥落、翻滚着向上退去，天空化为深蓝黑色的虚空。她张开双臂，头发、外套下摆和包带都被上升气流托起。

21–24s：坠落过程中视觉风格反复跳变，每次跳变都由一整帧扫过的结晶珠来衔接。依次为：① 浓郁的 1980 年代胶片质感——高饱和、重光晕、重颗粒；② 黑白半调漫画分镜——角色以墨线勾勒与网点呈现，背景是密集的放射状速度线；③ 一个霓虹紫蓝色的数字漩涡，长长的光带以高速向后拉伸；④ 近乎全黑，配极端的运动模糊。在以上每一种风格中，她的面部结构、发型与服装都必须能辨认出是同一个人。

24–27s：她仰面平摔在光滑的白色地面上。一枚广角镜头缓慢推进并上摇，揭示出环境：一个无限延伸的纯白展厅/机库，天花板是网格状柔光箱。地面上布满数百个黑色圆形基座，每个基座上都立着一尊角色雕像或停放着一台载具——原创设计的战士、机甲、机器人、科幻士兵，以及大型军用飞机和直升机。每个基座前方都悬浮着一行白色小字标签：“FANTASY CHARACTER”、“VEHICLE”、“MECH”——字号很小，纯粹作为环境信息存在。

27–28s：她坐起身，撑地站起，缓缓转身环视大厅，眼睛因敬畏而睁大。摄影机稳定为居中的全身中远景，身后的雕像阵列渐渐虚化。

28–30s [最终变身]：她完全站直的那一刻，结晶珠从她脚边的地面升起，以一道连续的波浪扫过她的身体——这是全片第一次，她自己成了被重新生成的对象。她的街头服装崩解成珠雾，一套魔法少女战斗服在原位向外生长，遵循完全相同的三阶段母题，从躯干向外以可读的顺序生成：白色高领贴身胸衣 → 带三道银色条纹的薄荷绿水手领 → 带银色镶边的深薄荷绿百褶裙，裙褶逐一展开 → 延伸至上臂的长款白手套，带薄荷绿滚边 → 白色及膝靴，中跟，薄荷绿靴口 → 层叠银饰重组为她胸前的银色星形胸针 → 背后一个巨大的薄荷绿蝴蝶结，长飘带垂到膝后 → 一道纤细的银色冠冕在她额前凝结成形。她的脸、发型、发色、那缕薄荷绿挑染以及脖子上的耳机完全不变——只有服装被重新生成。最后的珠子被织物吸收。她低头看自己的双手，然后缓缓抬起头，飘带仍在身后落定，带着一个刚刚浮现的浅浅微笑，直视镜头之外。影片在这一帧切断。没有片尾卡，没有标题，没有标语，没有任何形式的字幕。

[SOUND] 雨声与湿路面的车流声，城市环境底噪；每一次结晶化都伴随高频的玻璃/冰碎裂与重排声；每次重组完成时有一声短促明亮的锁定音；广告牌发出电子刷新音；地面塌陷时的低频崩塌声；坠落过程中的风声，四次风格跳变各有明显不同的音色（胶片嘶声 / 纸墨质感 / 合成器扫频 / 静默）；落地时一声闷响；大厅内近乎全静，只有微弱的空调室内底噪；随后在最终变身之上，是一段丝缎与水晶般上升的闪光音，每一件衣物落位都伴随清脆的一声咔哒，蝴蝶结以一次缎带挥扫系紧，冠冕锁定时有一声清亮的铃音。一段不断推进的电子配乐把这一切串联起来，并在她抬头的那一瞬落下最终的重音。

[HARD RULES] @[image1] 的脸、发型、发色和耳机在整整 30 秒内绝对不变。她的服装从 0s 到 28s 不变，只允许在 28–30s 的最终节拍被重新生成——变身只影响服装，绝不能改变她的脸、头发或身份。所有其他替换只发生在她周围的人、车辆、地面与环境上。影片只能使用唯一的“结晶珠崩解 → 重排 → 生长”变身语言，包括最终的换装在内；不得混入任何其他转场效果。从 0–18s，影片必须保持一镜到底、空间连续的跟拍逻辑——街道的建筑、光照与湿地面反光绝不能跳变。大厅中的每个角色和每台载具都必须是原创设计；不得出现任何现实世界中可辨识的角色、品牌标识、商标或可识别的影视 IP，最终的魔法少女制服也必须是原创设计，而非任何现有动漫角色的服装。全片唯一允许出现的品牌文案是 11–15s 广告牌屏幕上的 @[image2] 画面，它仅作为该屏幕内的一张平面图像存在，绝不在其他任何地方重复出现。没有片尾卡，没有标题卡，没有字幕，没有水印，全片任何位置都没有叠加文字。避免：卡通渲染、游戏 CG 感、塑料材质、全画幅泛光、数字故障转场、失重漂浮、错误的手指结构、乱码文字、暴露或暗示性的姿势或镜头角度。

溯源

原作者

Iancu_ai

发布日期

2026-09-11

原始出处

查看原帖 ↗

收录来源

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