Seedance 2.5 on VisionX.
Live on the roster: one continuous take up to 30 seconds, with 30 reference images behind it.
OTTER IS NOBODY · TRAILER 0:16 · MADE WITH SEEDANCE 2.5 · OPEN-SOURCED BY BYTEPLUS
What Seedance 2.5 is on the roster
Seedance 2.5 is live on VisionX. It is built around a different shape of output from the 2.0 tiers: one continuous take up to 30 seconds — a whole story beat, unbroken — where 2.0 puts several shots inside a 15-second clip.
It runs in the same composer as every other engine, sees the same Cast, bills the same VX wallet, and quotes its price per shot before you run it. Route a board line to it the way you would route to Seedance 2.0 or a guest engine; nothing about your campaign changes except the length of the take.
A 30-second single take
One continuous shot with no stitching and no scene-cut splicing — double the 2.0 ceiling, long enough to carry a complete narrative beat with dialogue.
30 reference images in one call
More than three times the nine the 2.0 tiers take, alongside video and audio slots — each reference carrying the role you name. Deep reference budgets are what keep cast, wardrobe and product consistent across a long take.
Edit and extend by prompt
Hand it a finished clip and ask: remove the background music, replace the subject, extend the story forward. The task type is read from your intent, not from a separate tool.
Otter is Nobody, shot by shot.*
A little otter on its first day as a courier is handed a delivery nobody else will take, and gets it done — through a city torn up by giant insects, a dogfight down a glass canyon, a flooded pipe, and a very small customer. BytePlus released the 3:21 film with ten of its shot prompts and reference packs public. The ten are below, cut at the gallery's own timecodes, each with the prompt that made it and the settings it ran at — on Dreamina-Seedance-2.5, the model this page is about.
- Film
- Otter is Nobody
- Form
- Animated short · 3:21
- Director
- BLUESKY
- AIGC director
- Cheng Kuan
- Technical director
- Lu Qi
- Model
- Dreamina-Seedance-2.5
- Format
- 21:9 · 720p · native audio
- Published
- July 2026 · BytePlus ModelArk gallery, open-source
Clip 01 · 0:04–0:07 The flower on the skyline
A high-angle shot looking downward. A building occupies the foreground while the distant giant flower on the skyline is out of focus. A giant insect suddenly bursts out of a lower window, blasting glass outward, and focus snaps violently from the distant flower to the erupting insect.
Clip 02 · 0:19–0:25 Just a courier
An old bright-yellow city bus being slowly crushed and rolled by the beetle into an almost perfect sphere. Body panels bend, windows deform, and eventually the entire vehicle compresses into a flawless yellow ball. The location is an urban street canyon overtaken by giant spreading tree roots.
Clip 03 · 0:32–0:47 Do not puke on my feathers
The overall feeling is a Top Gun-style aerial dogfight through a teal glass-tower city — extremely fast, composed of many short shots, hard cuts only, and no slow motion. … Hornbill side close-up (50mm): it glances back at the beetles, then at the otter, with sharp controlled movement. Dialogue: “Whatever you do — do NOT puke on my feathers.”
Clip 04 · 1:02–1:10 A tiny seed
Dialogue must appear exactly, with no omissions, in English only, and must lip-sync to the audio reference. In the third shot, the otter says in a weak, gentle, cute breathy voice: “A tiny seed? So you're my first customer?” The film uses three shot / reverse-shot setups with different framing and angles, constant real-time speed … Emotional arc: pain and fear → confusion → curiosity.
Clip 05 · 1:12–1:23 Kitchen chase
The action is a one-direction comedic chase within a single environment, using hard cuts, 21:9 framing, total runtime 30 seconds, entirely inside the ruined kitchen, progressing left to right. It uses an escalating repeated beat: otter closes in and pounces on the seed, getting closer each time → fleeing seed grabs an object and throws it backward without looking → the object interrupts the capture at the last possible instant → seed regains distance → repeat. No dialogue.
Clip 06 · 1:27–1:33 Multiverse lunge
A comedic “style-hopping” chase short titled “MULTIVERSE LUNGE.” … During the middle slow-motion section, the camera must orbit the two characters for one full complete revolution, an uninterrupted 360° circle that returns all the way to its starting position. … Each style lasts only one or two frames, about eight styles per second. … Style order: 1. Monet-like Impressionist oil painting, broken color and soft chromatic shadows. 2. Van Gogh-like treatment, thick swirling impasto, cobalt blue against chrome yellow.
Clip 07 · 1:36–1:40 The pipe
Low over-the-shoulder view from the seed toward the fan throat: exposed blades fill the tunnel with no grille. The vortex pulls the seed inward, black-dot eyes filled with terror. From a branch pipe, the otter cuts at high speed into the main tunnel and sees the danger. … Fully streamlined sprint-swim, powerful tail oscillation, wet fur stripping off a sheath of microbubbles, closing the distance at about three times current speed as pipe walls streak by.
Clip 08 · 1:40–1:57 Need a hand, kid?
Camera work uses aggressive handheld faux-documentary style: violent shake, frequent whip pans, visible loss and recovery of focus, and unstable caught-on-the-spot framing. … During this chaos, the petroleum-blue spacecraft finally drifts slowly into frame from the upper rear and matches their speed. Inside, the Malayan tapir boss lounges calmly, piloting one-handed and casually sipping from the tiny white coffee cup. … Dialogue consists only of the boss saying “Need a hand, kid?”
Clip 09 · 2:08–2:18 The dive
Shot 1, approximately 0–3s, establishes the layered composition with a steep top-down angle and Dutch tilt. An extreme-high-altitude wide view, sharply tilted, with the spacecraft in the near foreground corner, clear and sharp, trailing blue exhaust. Looking downward past the spacecraft: it is positioned extremely far above the giant flower, with a dizzying vertical distance between them. Clearly show three layers of atmospheric perspective.
Clip 10 · 2:50–3:01 Fern slide
The overall tone is that of a healing fantasy picture book — soft, semi-translucent, dreamlike, and joyful, like a wildly celebratory sci-fi aerial theme park crossed with a roller coaster. … Giant elevated fern leaves hanging from above naturally act as slides / roller-coaster tracks. Semi-transparent stems glow from within. Golden-orange morning mist and floating dust fill the air. … A semi-transparent petal platform carries everyone through continuous flight and slowly rises toward the exit in the finale.
* Every frame generated on Dreamina-Seedance-2.5 by BLUESKY, published open-source by BytePlus in the ModelArk gallery and shown here as published. Prompts quoted verbatim from that release. Not rendered on VisionX — the same model runs on the roster here.
Wonder Boy, shot by shot.*
A boy on a Chester street in 2006 watches Michael Owen on a pub television, then plays the same moves in the street — every touch flowing into a moment from Owen’s career — until, in 2026, he is the one wearing the number 10 shirt at kickoff. BytePlus released the 1:44 film with seven of its shot prompts and reference packs public. The seven are below, cut at the gallery's own timecodes, each with the prompt that made it and the settings it ran at — on Dreamina-Seedance-2.5, the model this page is about.
WONDER BOY · TRAILER 0:21 · MADE WITH SEEDANCE 2.5 · OPEN-SOURCED BY BYTEPLUS
- Film
- Wonder Boy
- Form
- Concept film · 1:44
- Presented by
- BytePlus
- Director
- Zhang Weidong
- AIGC directors
- Pan Deng, Zheng Zekun, Zhang Weidong
- Art director
- Guo Zhihan
- Executive producers
- Lai Xin, Zhou Peng
- Producer
- Guo Jiafei
- Model
- Dreamina-Seedance-2.5
- Format
- 21:9 · 1080p · native audio
- Published
- July 2026 · BytePlus ModelArk gallery, open-source
Clip 01 · 0:00–0:13 In front of the television
Create a premium, strongly commercial football TVC set on the streets of Chester in 2006. Maintain a consistent mid-2000s atmosphere throughout: an old television, glass shopfronts, vintage buses, street pubs, newspaper stands, brick walls, overcast natural light, and wet stone pavement. … Shot 4: Frame a frontal upper-body close-up of Owen with slight handheld movement, rapidly push in, then stop. Owen stands near midfield, lowers his head slightly, and takes a deep breath without visible condensation.
Clip 02 · 0:13–0:25 The street becomes the stadium
Matching the previous ball trajectory, the ball flies past the camera. A British elderly man in a sweater holds a cup of tea and looks down at the street; the tea trembles, he raises an eyebrow, and smiles in amusement. Shot 13: In a semi-interior space such as a pub entrance or residential doorway, begin with a handheld medium shot and push rapidly toward the feet. The ball rolls to a passerby, who reacts instantly, gives it a light juggle, and kicks it cleanly back into the street as an effortless street-football relay.
Clip 03 · 0:31–0:41 Under the bench
The scene takes place inside a cafe. A football rolls through the interior as the boy dribbles at speed, followed loosely by approximately ten pedestrians. … Place the camera inside a park bench and film from a low angle. The boy dribbles toward the bench. The football rolls beneath it first; the boy makes a light jump around the side, then regains possession on the far side.
Clip 04 · 0:41–0:56 Knocked down
Begin with a wide side view and transition briefly into slow motion. Owen instinctively jumps over an opposing player sliding toward him. His leg is lightly clipped in mid-air, shifting his center of gravity forward and to the side. He lands on one foot, his boot slips on the grass, and he throws out both arms to regain balance. The camera pans toward the direction of his fall with a slight delay. … The room seems to fall silent, leaving only the match audio, urgent commentary, and restrained breathing.
Clip 05 · 0:56–1:05 Between two buses
The football is already moving between two stationary buses as an approximately eighteen-year-old girl dribbles from right to left. The bus windows reflect blurred images of her and the pursuing players. Begin by filming the action through the reflection on the side of a bus. As she approaches, move rapidly away from the reflection and transition into a waist-height lateral tracking shot parallel to her movement. A defender reaches a foot in from behind.
Clip 06 · 1:05–1:17 Back on his feet
Use a handheld, low-angle side close-up of the boy’s legs without revealing his face. He is lying on muddy ground, then plants only his right foot and rises with determination. Show the complete process of standing up while keeping the framing limited to his legs. … The setting is a worn South American city with dense, complex buildings and a very small football court. A slight boy in worn clothing runs into frame from behind the camera, remains back-facing throughout, takes his run-up, and strikes a free kick.
Clip 07 · 1:24–1:41 Kickoff, 2026
Edit [the reference video] as a continuous one-take sequence. Preserve the original camera path, timing, shot sizes, composition, pacing, lighting, the seamless transition through the television screen, the pub action, and all picture-in-picture content. Replace only the two principal characters: replace both the young player at the stadium and the adult man in the pub with the same person shown in [the reference image]. … Begin moments before kickoff at a football stadium in 2026.
* Every frame generated on Dreamina-Seedance-2.5 by Zhang Weidong and BytePlus, published open-source by BytePlus in the ModelArk gallery and shown here as published. Prompts quoted verbatim from that release. Not rendered on VisionX — the same model runs on the roster here. Michael Owen appears under BytePlus’s own arrangement with him, exactly as in the released film.
What Seedance 2.5 actually does
What routing a shot to Seedance 2.5 buys you over the 2.0 tiers.
One take, up to 30 seconds
A single continuous shot with no stitching and no scene-cut splicing — double the 2.0 ceiling. Long enough to carry a complete story beat, a real script, or a full product move.
Single take30 reference images, each with a job
More than three times the nine the 2.0 tiers accept, alongside video and audio slots. Faces, wardrobe, product, set, lighting — a long take stays consistent because every element has an anchor, and each reference carries the role you name.
Reference budgetEdit a finished video by prompt
Hand it a clip and say what changes: remove everyone except the protagonist, swap the music, repair the frame. The output keeps the source clip’s aspect and length automatically.
Video editingExtend a story forward or back
Give it a finished take and ask it to continue — the story, not just the motion. The camera can travel into a second referenced clip and keep going.
ExtensionDirection by timestamp
Write the shot as a schedule — [0–10s] macro, [10–22s] pull back, [22–30s] wide — and the model blocks the take against your clock instead of improvising the pacing.
Timestamped promptsDialogue in 11 languages
Sound is generated in the same pass as the picture, and spoken lines lip-sync natively across languages from English and Mandarin to Arabic, Thai and Portuguese.
Multilingual speechEvery variant, exactly as the studio runs it
These rows are read live from the engine registry and the pricing engine. What you see here is what the composer quotes.
Self-serve rates run as low as $0.085 per VX at scale. The composer quotes the exact VX for your shot, references included, before you run it.
How to write for Seedance 2.5
Seedance 2.5 reads the task from your intent — reference, edit, or extend — and takes direction by timestamp. Being explicit about both is the whole craft.
Use [Image1] as the bottle. Keep the label sharp through every move. Use [Image2] for the set: wet black stone, one hard key light. [0–10s] Macro on condensation, slow orbit around the bottle. [10–22s] Pull back — a hand lifts it, the presenter says "This is the one." [22–30s] Settle wide in golden-hour light, label centred, logo resolves.
Block the take against the clock
Segment the prompt with [0–10s]-style timestamps. A 30-second take without a schedule drifts; with one, the pacing is yours.
Name the task when a clip is involved
On a source video, words like "edit", "remove", "replace" or "extend", "continue" pick the task type. An editing task keeps the clip’s aspect and length automatically — that is the model’s rule, not a bug.
Anchored frames set the aspect
On a first-frame or first-and-last-frame shot, the output inherits the anchor image’s aspect ratio. Compose the anchor at the ratio you want delivered.
Give every reference a role, not a mood
"Use [Image1] as the character’s face" beats "in the style of [Image1]" — same rule as the 2.0 tiers, thirty slots instead of nine, and it matters more the longer the take.
What teams route to Seedance 2.5
The board lines that route to a 30-second single take.
Unbroken social hero films
One continuous take for vertical placements, where a cut is the thing that breaks the illusion.
Full-length product spots from a packshot
A bottle or box carried through a complete 30-second spot without the mid-way identity drift that stitching invites.
Presenters who can carry a script
A portrait held long enough for a real pitch, not a single line — with lip-sync generated against the speech, not dubbed over it.
Branded story films
A complete narrative beat in one unbroken shot rather than a sequence assembled in an editor afterwards.
Fix-it-in-the-prompt revisions
The take was right and one thing was wrong. Edit the clip by prompt — remove the extra, change the music — instead of re-rolling the whole shot.
Multi-character scenes
Thirty reference slots are what keep several cast members, their wardrobe and the set consistent across a long take.
Seedance 2.5 against the alternatives
The short version against the two engines a long-take board line would otherwise go to. All three run on the same VisionX board, so you can settle it on your own footage.
| Capability | Seedance 2.5 | Seedance 2.0 | Kling 3.0 |
|---|---|---|---|
| Max single take | 30s | 15s | 15s |
| Reference images per call | 30 | 9 | Text, image |
| Timestamped shot direction | Yes — [0–10s] segments | Numbered shots | No |
| Edit / extend by prompt | Yes | Multi-clip fusion | No |
| Audio generation | Same pass as the picture | Same pass as the picture | Separate sync step |
| Max resolution | 1080p | Native 4K | Vendor-announced 4K |
VisionX rows are read from the engine registry. The Kling column describes the vendor’s published capabilities as of August 2026 — vendors ship fast, so re-check before quoting these in a deck.
Same Cast, same wallet, different look
Route a board line to Seedance 2.5, then run the identical shot on another family and compare takes. Identity lives in your Cast, not in any one model, so switching engines never strands the campaign.