\n| Resolution<\/td>\n | 720p<\/td>\n | The setting the template ships with. 1080p is also selectable<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/figure>\n The run bar carries two further toggles, displayed as Frame and No EP, both left at their template defaults.<\/p>\n Reference capacity is the other reason this chain holds together. Seedance 2.5 accepts up to 50 references, so a sheet carrying five aligned views plus a strip of fabric and detail crops sits comfortably inside what the model can consider at once.<\/p>\n Resolution is a choice rather than a ceiling here. The template ships at 720p and 1080p is available on the same node, but the upscale waiting at the end of the chain is what determines the resolution of the finished piece either way. That makes the lower setting the sensible place to work while the shot is still being judged.<\/p>\n The duration is the setting worth pausing on. Thirty seconds as a single unbroken take is a Seedance 2.5 capability specifically, and it is what makes the template’s central request possible at all. Ask most video models for half a minute and you get a sequence of cuts stitched together, each one a fresh opportunity for the face to change. One take means one continuous piece of footage and one continuous character.<\/p>\n Step 6. Run the video and read the result<\/h3>\nRun the node and watch the whole clip rather than scrubbing it. Drift shows up in transitions, so the moments to check are where the camera changes relationship to the rider: the switch from first-person to an external view, the pass behind the dragon’s wing, the climb where the rider is briefly seen from above.<\/p>\n If the rider changes, go back to step 3. That is the loop the workflow is built around, and it is why the video renders cheaply.<\/p>\n Step 7. Upscale the take you are keeping<\/h3>\nThe finished clip goes through the upscale node, which lifts it from the working resolution to a 4K output. This is the step that makes a low-resolution generation worth running in the first place.<\/p>\n Step 8. Export<\/h3>\nExport the finished video from the canvas. Exporting usually means signing in first.<\/p>\n Inside the prompt that keeps the character locked<\/span><\/h2>\nThe video prompt is not a paragraph. It is written as labelled blocks, each responsible for one decision, which is why it survives being 30 seconds long.<\/p>\n The first block sets the shot: “One continuous 30-second flight sequence, no hard cuts – the camera flows between locked first-person POV and detached free-flying camera moves as if a single unbroken drone-rig follows the ride.” One sentence, and it has already ruled out the thing video models love to do unprompted, which is cut. It also defines the camera as a single physical rig, which is why the perspective changes read as one continuous move rather than as edits.<\/p>\n The block after it handles the rider, and it does something worth stealing. Rather than describing a face in adjectives and hoping, it names a specific input image with a reference token and instructs the model to preserve that image exactly. The character is defined by pointing, not by describing. Every other block in the prompt can then talk about wind, altitude and light without ever touching the question of who is in the frame.<\/p>\n That is the difference between asking for consistency and building it. Adjectives are a request. A reference token is an instruction.<\/p>\n Render small, then upscale once<\/span><\/h2>\nThe video node runs at 720p even though 1080p is available on it and the finished piece is 4K, and that ordering is deliberate rather than a limitation. Iterating at a higher resolution would multiply the cost of every take that gets discarded, and most takes get discarded.<\/p>\n So the workflow generates cheap, judges the result, regenerates until the flight reads properly, and only then spends the upscale on the single version worth keeping. Resolution is the last thing to buy, not the first.<\/p>\n |