I Spent 72 Hours Making This AI Commercial With Seedance 2.5 (Every Prompt I Used)

2026-10-30 · case-study tutorial · Adil, Higgsfield · recording, 27:55 · watch on YouTube

Topic: Video generation & shot direction (also: Pre-production & story, Assets, references & consistency, Prompting & AI assistants, Post-production & finishing, Cost, credits & plans, Higgsfield platform & ecosystem) · mode: Tutorial · tags: prompts shared, fiction, one creator's experience

Adil breaks down the cinematic sportswear commercial he made in 72 hours with Claude and Cinema Studio: three heroes on his four-beat script, clean character and prop sheets in Soul Cinema, GPT Image and Seedream, story blocks prompted through his Directing Workflow skill in Seedance 2.5, a filmed movement reference, a sketch, a Dance Direction skill, 480p drafts and an edit that matches beats; it cost about 8,500 credits.

What is said

The parts of the video and what is said in each (★ — how much it matters to the video).

00:00:00 — The finished sportswear commercial played in full

00:02:02 — Three heroes in one ad, built on the four-beat script; three steps: assets, scenes, editing

★★★ Adil says turning your own characters and clothes into a commercial takes three simple steps: assets, scenes and editing. — 00:02:02 · Adil
★★★ Adil builds his three-hero ad on his four-beat script (setup, problem, choice, resolution): every generated scene gets one of those jobs, which decides how the story splits into blocks and how they are cut together. — 00:02:13 · Adil

“my four-beat script: setup, problem, choice, and resolution”
★★ In the goalkeeper's story the fall in training is the problem and the save in the final match the resolution, so they are separate blocks, and in the edit the save sits next to the other two heroes' resolutions. — 00:02:25

00:02:44 — Shot list, Claude prompts, a folder per hero, elements with @ names and clean character sheets

★★ Before generating anything, Adil turns the story into a shot list, which tells him which characters, clothes and locations he actually needs. — 00:02:44 · Adil
★★ Adil describes every shot to Claude, Claude writes the prompt, and he generates it in Cinema Studio with his assets; everything lives in one project with a folder for each hero. — 00:02:51 · Claude, Cinema Studio, Adil
★★★ Adil saves each finished asset in Higgsfield as an element with an @ name and gives Claude the same image under the same name, so when Claude's prompt is pasted back the right element attaches itself. — 00:02:59 · Elements, Claude, Higgsfield AI, Adil
★★★ Every character in Adil's ad gets the same clean sheet: a grey background, body views with the head cropped out and a big close-up of the face, which he says keeps the character the same in every scene. — 00:03:11 · character sheet, Adil

00:03:19 — Casting the goalkeeper in Soul Cinema

★★ For the goalkeeper Adil asks Claude for an ordinary working guy with dark curls, a warm face and real skin that holds up in a close-up, who looks like an athlete even in a regular shirt. — 00:03:19 · Claude, Adil
★★★ Soul Cinema is Adil's go-to image model for people: it keeps real skin textures, so faces do not turn into plastic AI slop; he generates four options at once from Claude's prompt. — 00:03:28 · Soul Cinema, AI look, Adil, Claude

00:03:57 — The logo in GPT Image, the kit and the knee brace edited in Seedream

★★★ For the brand logo, simple enough to spot on a shirt or a shoe, Adil switches to GPT Image, which he calls the best at clean, flat graphics. — 00:03:57 · GPT Image, Adil
★★ Of four logo options Adil rejects a double outline as noise on a chest and keeps a "C" that is one wide open shape, readable even small on a shirt. — 00:04:08 · Adil
★★★ Adil saves the logo as an asset so the model does not invent a new logo for every outfit. — 00:04:19 · Adil
★★★ For the goalkeeper's kit, Claude gets the character sheet and the outfit sheet and writes the edit prompt, which Adil runs in Seedream inside Cinema Studio; Seedream, he says, is great at edits, changing the clothes and keeping the face exactly the same. — 00:04:27 · Seedream, Cinema Studio, Claude, character sheet, Adil
★★ Adil checks the generated kit's crest, panels, number and logo against the outfit sheet. — 00:04:41 · Adil
★★★ The kit in Adil's ad is generated; for your own product he says to shoot it front and back, which is how the model gets the cut, the print and the logo exactly right. — 00:04:46 · Adil
★★ For the goalkeeper's version with a knee brace, Adil first makes a clean prop sheet of the brace, then the kit with it on. — 00:04:58 · Adil

00:05:10 — The Directing Workflow skill, story blocks, and the goalkeeper's clinic and home scenes

★★★ For the scene prompts Adil gives Claude his own directing skill, Directing Workflow, a set of instructions loaded once that turns a scene into a shot plan; it loads through Customize, Skills, upload the file and switch it on. — 00:05:12 · Claude, Adil
★★★ Adil splits every story into blocks: one block is one prompt, which can hold several scenes; he runs it a few times, pulls the best moments from different takes and fixes whatever breaks. — 00:05:33 · Adil
★★ The goalkeeper's story has five blocks: the clinic, home and street are the setup, training is the problem, the tunnel and changing room his choice, and the match the resolution. — 00:05:50
★★★ Adil only describes the scene to Claude; the Directing Workflow skill breaks it into shots, decides the camera moves and tells the model how the character should look ("lost and empty"), and the prompt goes into Cinema Studio with Seedance 2.5. — 00:06:19 · Claude, Cinema Studio, Seedance 2.5, Adil
★★ In two Seedance 2.5 takes the goalkeeper was slumped on the clinic table although the prompt said standing: the shots were so close that the model never saw his whole body. — 00:06:34 · Seedance 2.5
★★★ Adil's fix for the slumped posture: add a wide shot at the start so the model sees the character standing at the table before the camera moves in; with four shots he stayed upright in both takes. — 00:06:50 · Adil

00:07:16 — The street mural scene and building the football field with HEX colour presets

★★ For the mural scene Adil starts with an empty street under a bridge, then a Seedream edit paints the mural onto the pier and hangs an old lamp right above it, so the light on the mural matches the street. — 00:07:29 · Seedream, Adil
★★ In the mural request the timing does the work: a car passes, the mural shows up behind it and the vandal is just finishing the tag; Adil says it worked on the first try. — 00:07:39 · Adil
★★★ Adil builds the training field at a three-quarter angle so the model gets the depth of the pitch and a clear line to run, lit at blue hour: cool, but bright enough to follow the action. — 00:08:04 · Adil
★★ In Cinema Studio's Image mode with Soul Cinema, built-in HEX colour presets are picked up front, before generating. — 00:08:14 · Cinema Studio, Soul Cinema, Soul HEX
★★★ Testing HEX presets on the field in batches of four, Adil found Twilight Fable way too purple for his other shots and losing half the pitch in shadow, and kept The Morning After Rain: colder sky, no purple cast, more neutral shadows. — 00:08:27 · Soul HEX, Adil

00:08:53 — Goalkeeper training: a filmed warm-up reference, the fall, 480p drafts

★★ Prompted the simple way, the goalkeeper's warm-up came out as a plain jog with no rhythm or knee lift, and Adil burned a bunch of credits trying to describe it in words without getting the movement he wanted. — 00:09:16 · Adil
★★★ For the knee lift, Adil attaches a clip of the movement in Claude with the character sheet and the field, saying it is only for the movement, rhythm and knee; Claude's prompt takes the motion from the clip and the rest from the assets, and the clip goes into Seedance 2.5 in Cinema Studio as a video asset. — 00:09:39 · Claude, Cinema Studio, Seedance 2.5, motion transfer, Adil, character sheet
★★★ So that the fall reads as the knee giving out, not a trip, Adil spells out the order: sprint to the cone, plant the right foot, start to turn, the knee gives way, drop onto the left side, roll onto the back, grab the right knee. — 00:10:14 · Adil
★★★ For the acting, the Directing Workflow skill scripts the goalkeeper's face beat by beat (lips pressed, jaw clenched, breathing hard through the nose), and one line, "sweat at the hairline", gives the sweaty look. — 00:10:33
★★★ For the 26-second, nine-shot fall sequence Adil first makes 480p Seedance 2.5 drafts, cheaper, faster and good enough to judge movement and framing, and finalizes in 1080p only the takes that go into the edit. — 00:10:45 · Seedance 2.5, Adil
★★★ If you need a specific move, Adil says to film it yourself first: his own clip gave him the movement, and it is cheaper than running take after take and hoping the model gets it. — 00:11:51 · motion transfer, Adil

00:12:00 — The coach and the tunnel scene fixed with a sketch

★★★ For the tunnel scene Adil, doubting that more words would fix the framing, draws a sketch (blue for the keeper, yellow for the coach) that tells the model only where they stand and which way they face; rerun with it, both men stand in the middle of the tunnel. — 00:12:31 · Adil

00:13:11 — The final match: sheets for the teams, stadium and ball

★★★ Anything that recurs more than once gets its own asset (the goalkeeper's team, the opponents, the stadium, the ball), because with pure text-to-video the kits and the players would change every take. — 00:13:29 · text-to-video
★★ The crowd is already in Adil's stadium asset, so the model does not invent people from scratch. — 00:13:39 · Adil
★★ With their own sheets, the team and opponent kits held in every take of Adil's Seedance 2.5 match prompt: blue for home, red and black for the opponents. — 00:13:59 · Seedance 2.5, Adil

00:14:38 — The dancer: the match cut and the dinner scene

★★★ The dancer's setup opens on a match cut: she closes her eyes in the ballet studio and opens them on the bridge, her face in the same spot in the frame while only her clothes and surroundings change. — 00:15:09
★★★ For the dinner scene Adil keeps the match cut from the first take and changes only the push-in and the mother's position: start on her empty chair, push in as she enters, land on her face with her dad at the edge; once the camera knows where to go, he says, he gets the exact cut. — 00:15:49 · Adil

00:16:20 — The phone and the locker room

★★★ To keep the dancer's clip on a phone screen inside the locker room, Adil first generates the vertical dance clip, then uploads it to Claude with the phone asset and the scene's other assets; in the first take the dance stays inside the display and the comments are readable. — 00:16:31 · Claude, Adil

00:17:15 — Fixing the dance movement with the Dance Direction skill

★★ With a simple request, Adil's dancer moved like a robot and then just started jogging. — 00:17:29 · Adil
★★★ Adil fed Claude videos of his friends dancing to break down footwork, weight shifts and arms, and turned that into a Dance Direction skill; instead of "make her dance" he can prompt actual steps (two side steps, a quarter turn, a low drop), which are easy to check. — 00:17:46 · Claude, Adil
★★ Side by side, with the Dance Direction skill the dancer moves through the steps on the bridge and in the studio instead of breaking into a run. — 00:18:10

00:18:29 — The argument and the dance battle

★★ In the dance battle Adil takes out the opponent's entrance into the circle, which pulled his eyes away from her feet, and asks Claude for one change: the centre stays clear, her feet are visible and the opponent never crosses the line. — 00:19:36 · Claude, Adil

00:20:16 — The schoolboy at school and at home

★★ The schoolboy's room gets a three-quarter angle from the corner, like the field; in the classroom Adil locks that angle on him in the prompt instead. — 00:20:40 · Adil

00:21:19 — The NERD note as a prop asset

★★★ Like any prop, the "NERD" note gets its own image asset: text is where the model slips, so the word always starts from that one image; as it is just an image, Adil runs eight takes and keeps the last, with the word clean. — 00:21:32 · Adil

00:22:05 — The Nerdy23 jersey walk

★★★ When takes of the jersey walk turned "Nerdy23" into all caps although the prompt already spelled the name correctly, Adil did not rewrite the prompt but checked each take against the outfit sheet and kept the one with the exact lettering. — 00:22:30 · Adil

00:22:53 — The esports tournament with one sheet of the teammates

★★★ For the tournament Adil brings in the stage and one sheet with all four teammates, because without it Seedance 2.5 kept generating random people in the background. — 00:23:01 · Seedance 2.5, Adil

00:23:42 — Editing the three stories together by matching beats

★★★ In the edit Adil cuts between the three heroes when they hit the same kind of moment in the story, which is where his four-beat script helps. — 00:23:46 · Adil
★★★ Adil says each story must work on its own: intercutting will not save a story that does not, it only hides the flaws for a few seconds, and every cut needs a clear reason. — 00:23:53 · Adil

“If a story doesn't work on its own, intercutting won't save it.”
★★ Adil matches the beats in the edit: in the first 17 seconds all three heroes are introduced, the goalkeeper's fall cuts to a ball hitting the boy in the gym, and the three choices run back to back. — 00:24:03 · Adil
★★★ Adil also cuts on close-ups of the details he generated (the knee brace, the jersey, the shoes), so the clothes and gear stay part of the story. — 00:24:37 · Adil

00:24:45 — Watch: the final commercial

00:26:51 — Total credits and time, lessons, and an offer to make a viewer's idea

★★★ Adil's three-hero sportswear commercial cost about 8,500 credits, counting the takes he did not use; he calls that a bit pricey but fine for a commercial like this. — 00:26:54 · credit, Adil
★★★ Adil says a real shoot with three casts, a stadium and a dance battle would cost hundreds of thousands of dollars, so when making a commercial like this for a brand you can put the credit costs into the production budget. — 00:26:58 · credit, Adil
★★ The whole commercial took Adil 72 hours; on a real set, he says, it would take months from start to finish. — 00:27:12 · Adil
★★ Adil's lesson for his next project: approach the story as a real director, with a vision of how the story will work before generating anything. — 00:27:17 · Adil
★ Adil's sportswear commercial project started from a viewer comment. — 00:27:29 · Adil
★★ Adil asks viewers to post ideas for his next commercial and says that if one reaches 1,000 likes he will make it and break down the entire process. — 00:27:32 · Adil

In the description and comments

★★ Higgsfield: Asked whether the commercial can really be AI, the channel replies that every frame is: no camera, no actors, just a lot of takes. — creator comment

Threads in this video

refine · How do you write the script for an AI film? — Adil builds his three-hero ad on his four-beat script (setup, problem, choice, resolution): every generated scene gets one of those jobs, which decides how the story splits into blocks and how they are cut together. (00:02:13)
restate · Which LLM should be used to write video prompts? — Adil describes every shot to Claude, Claude writes the prompt, and he generates it in Cinema Studio with his assets; everything lives in one project with a folder for each hero. (00:02:51)
refine · Which LLM should be used to write video prompts? — Adil only describes the scene to Claude; the Directing Workflow skill breaks it into shots, decides the camera moves and tells the model how the character should look ("lost and empty"), and the prompt goes into Cinema Studio with Seedance 2.5. (00:06:19)
restate · How do you write a prompt that a video model follows in every detail? — Adil saves each finished asset in Higgsfield as an element with an @ name and gives Claude the same image under the same name, so when Claude's prompt is pasted back the right element attaches itself. (00:02:59)
restate · How do you keep a character the same across shots? — Every character in Adil's ad gets the same clean sheet: a grey background, body views with the head cropped out and a big close-up of the face, which he says keeps the character the same in every scene. (00:03:11)
refine · How do you keep a character the same across shots? — Anything that recurs more than once gets its own asset (the goalkeeper's team, the opponents, the stadium, the ball), because with pure text-to-video the kits and the players would change every take. (00:13:29)
restate · Which image model should be used for keyframes, edits, text and outfits? — Soul Cinema is Adil's go-to image model for people: it keeps real skin textures, so faces do not turn into plastic AI slop; he generates four options at once from Claude's prompt. (00:03:28)
refine · Which image model should be used for keyframes, edits, text and outfits? — For the brand logo, simple enough to spot on a shirt or a shoe, Adil switches to GPT Image, which he calls the best at clean, flat graphics. (00:03:57)
restate · How do you avoid the AI (plastic) look? — Soul Cinema is Adil's go-to image model for people: it keeps real skin textures, so faces do not turn into plastic AI slop; he generates four options at once from Claude's prompt. (00:03:28)
refine · How do you keep a location, product or prop the same across shots? — Adil saves the logo as an asset so the model does not invent a new logo for every outfit. (00:04:19)
restate · How do you keep a location, product or prop the same across shots? — The kit in Adil's ad is generated; for your own product he says to shoot it front and back, which is how the model gets the cut, the print and the logo exactly right. (00:04:46)
restate · How do you put a new outfit on a person in a photo? — For the goalkeeper's kit, Claude gets the character sheet and the outfit sheet and writes the edit prompt, which Adil runs in Seedream inside Cinema Studio; Seedream, he says, is great at edits, changing the clothes and keeping the face exactly the same. (00:04:27)
restate · How do you direct a multi-shot sequence? — Adil splits every story into blocks: one block is one prompt, which can hold several scenes; he runs it a few times, pulls the best moments from different takes and fixes whatever breaks. (00:05:33)
refine · How do you direct a multi-shot sequence? — Adil's fix for the slumped posture: add a wide shot at the start so the model sees the character standing at the table before the camera moves in; with four shots he stayed upright in both takes. (00:06:50)
restate · How do you choose the location image for a generated scene? — Adil builds the training field at a three-quarter angle so the model gets the depth of the pitch and a clear line to run, lit at blue hour: cool, but bright enough to follow the action. (00:08:04)
refine · How do you choose the location image for a generated scene? — For the mural scene Adil starts with an empty street under a bridge, then a Seedream edit paints the mural onto the pier and hangs an old lamp right above it, so the light on the mural matches the street. (00:07:29)
refine · How do you keep a consistent colour palette and visual style across generated images? — Testing HEX presets on the field in batches of four, Adil found Twilight Fable way too purple for his other shots and losing half the pitch in shadow, and kept The Morning After Rain: colder sky, no purple cast, more neutral shadows. (00:08:27)
refine · How do you get precise motion (dance, action, choreography)? — For the knee lift, Adil attaches a clip of the movement in Claude with the character sheet and the field, saying it is only for the movement, rhythm and knee; Claude's prompt takes the motion from the clip and the rest from the assets, and the clip goes into Seedance 2.5 in Cinema Studio as a video asset. (00:09:39)
restate · How do you get precise motion (dance, action, choreography)? — Adil fed Claude videos of his friends dancing to break down footwork, weight shifts and arms, and turned that into a Dance Direction skill; instead of "make her dance" he can prompt actual steps (two side steps, a quarter turn, a low drop), which are easy to check. (00:17:46)
refine · How do you spend fewer credits? — If you need a specific move, Adil says to film it yourself first: his own clip gave him the movement, and it is cheaper than running take after take and hoping the model gets it. (00:11:51)
restate · How do you spend fewer credits? — For the 26-second, nine-shot fall sequence Adil first makes 480p Seedance 2.5 drafts, cheaper, faster and good enough to judge movement and framing, and finalizes in 1080p only the takes that go into the edit. (00:10:45)
refine · How do you direct a character's acting in a video prompt? — For the acting, the Directing Workflow skill scripts the goalkeeper's face beat by beat (lips pressed, jaw clenched, breathing hard through the nose), and one line, "sweat at the hairline", gives the sweaty look. (00:10:33)
restate · How do you draft and lock a shot before rendering the final? — For the 26-second, nine-shot fall sequence Adil first makes 480p Seedance 2.5 drafts, cheaper, faster and good enough to judge movement and framing, and finalizes in 1080p only the takes that go into the edit. (00:10:45)
restate · How do you control where the camera is in a known set? — For the tunnel scene Adil, doubting that more words would fix the framing, draws a sketch (blue for the keeper, yellow for the coach) that tells the model only where they stand and which way they face; rerun with it, both men stand in the middle of the tunnel. (00:12:31)
refine · How do you control where the camera is in a known set? — For the dinner scene Adil keeps the match cut from the first take and changes only the push-in and the mother's position: start on her empty chair, push in as she enters, land on her face with her dad at the edge; once the camera knows where to go, he says, he gets the exact cut. (00:15:49)
refine · How do you make a large crowd or army in a generated shot? — The crowd is already in Adil's stadium asset, so the model does not invent people from scratch. (00:13:39)
restate · How do you make a large crowd or army in a generated shot? — For the tournament Adil brings in the stage and one sheet with all four teammates, because without it Seedance 2.5 kept generating random people in the background. (00:23:01)
refine · How do you keep on-screen text and fonts intact in a generated video? — Like any prop, the "NERD" note gets its own image asset: text is where the model slips, so the word always starts from that one image; as it is just an image, Adil runs eight takes and keeps the last, with the word clean. (00:21:32)
refine · When a generation fails, should you generate more takes, fix the prompt or start over? — When takes of the jersey walk turned "Nerdy23" into all caps although the prompt already spelled the name correctly, Adil did not rewrite the prompt but checked each take against the outfit sheet and kept the one with the exact lettering. (00:22:30)
restate · How do you make a transition between two shots? — The dancer's setup opens on a match cut: she closes her eyes in the ballet studio and opens them on the bridge, her face in the same spot in the frame while only her clothes and surroundings change. (00:15:09)
refine · How do you make a transition between two shots? — Adil also cuts on close-ups of the details he generated (the knee brace, the jersey, the shoes), so the clothes and gear stay part of the story. (00:24:37)
restate · What does an AI clip, shot or film cost? — Adil's three-hero sportswear commercial cost about 8,500 credits, counting the takes he did not use; he calls that a bit pricey but fine for a commercial like this. (00:26:54)
refine · What should you charge for AI ads and services? — Adil says a real shoot with three casts, a stadium and a dance battle would cost hundreds of thousands of dollars, so when making a commercial like this for a brand you can put the credit costs into the production budget. (00:26:58)
promised · Adil: make the viewer's commercial idea that reaches 1,000 likes and break down the process (2026) — Adil asks viewers to post ideas for his next commercial and says that if one reaches 1,000 likes he will make it and break down the entire process. (00:27:32)
restate · Which video model should be used for realistic people and film shots? — Adil picks Seedance 2.5 in Cinema Studio for the scenes of his realistic sportswear commercial. (00:06:19)

Where the stories that moved here went next

Adil: make the viewer's commercial idea that reaches 1,000 likes and break down the process (2026) — open (no report in 2026); last: promised, 2026-10-30

Mentioned

Central: Adil's sportswear commercial (2026) · character sheet · Cinema Studio · Claude · Dance Direction skill · Directing Workflow skill · four-beat script · Seedance 2.5 · Soul Cinema

Also: People: Adil

Organizations: Discord

Concepts: AI look · credit · match cut · motion transfer · product sheet · shot list · Skill · text-to-video

Products: Elements · GPT Image · Seedream · Soul HEX

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