Arboretum Seedling Reveal

Recreated 10 Sep 2026

Inspired by airina_xyzon XTheir workflow. Rebuilt step by step on OpenClips.

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Prompt365 chars

Generate a botanical watercolour illustration with refined ink linework throughout: visible paper tooth, granulating washes that dry darker at their edges, a fine ink line that varies in weight and breaks where forms turn away, soft natural colours, luminous humid atmosphere, richly detailed foliage and glass architecture, and expressive but subtle facial acting.

How it was made

Create or select an avatar

Create a character sheet

CHARACTER LOCK — HIGHEST PRIORITY. @image1 is the sole source of truth for face and body. Preserved exactly: facial structure, eye shape and spacing, brows, nose, lips, jawline, ears, hairline, hair length, texture and colour, skin tone, any marks or freckles, micro-asymmetry, apparent age, build and gender presentation. Do not beautify, slim, de-age, symmetrise or restyle. Do not substitute a different person. Nobody else appears on the sheet.

ATTACHED IMAGES ARE MANDATORY AND FINAL: the attached image is the person — reproduce them exactly, in every single view, and never invent a different face, hairline, hair colour, skin tone, body or age. The attached image outranks every word written below it: wherever the image and this text disagree, follow the image.

Create a professional character design sheet — an orthographic turnaround of one figure in three full-length views arranged horizontally: front view, exact 90-degree side profile, back view. The same figure in all three, identical scale, identical eye level, identical camera distance, equal spacing, the full figure visible from head to toe in each. Neutral upright stance, arms held slightly clear of the torso so the garment construction and silhouette read cleanly, the hands turned so the fingers are clearly visible.

The figure wears the working clothes of someone who tends a growing hall aboard a long-voyage ship — practical, soft, much repaired, nothing military and nothing theatrical. A long wrap apron in undyed heavy canvas falling below the knee, gone soft and pale with washing, with a wide waist tie, two deep patch pockets and set-in working marks that never lifted: soil at the hip, a green smear across one thigh, a pale ring where a wet pot was held against it. Beneath the apron, a long-sleeved utility tunic in muted sage cotton twill with a plain stand collar, the sleeves pushed and bunched above the wrist for handling plants. Loose trousers of the same twill in a deeper moss, gathered at the ankle. Flat soft-soled canvas shoes, stained dark at the toe from wet floors.

At the waist, a narrow leather tool loop carrying a small grafting knife with a wooden handle, a short pair of snips and a loop of jute twine. Every piece reads as long-used kit: a frayed apron hem, one mended seam at an elbow, a strap softened and darkened where a thumb has hooked it for years. Restrained palette of undyed canvas, sage, moss and worn tan leather, with warm variation coming from wear rather than decoration. No badges, no insignia, no patches, no jewellery, no printed markings anywhere on the costume.

Use @image1 as the identity reference. Translate the figure into the costume described above without altering any locked feature. Every garment above is cut to fit the avatar's own body exactly as it is, and is styled to read the same on any build, any age and any gender. Tailor the clothing to the avatar — never reshape, re-sex, slim, broaden or otherwise reproportion the body, the face or the features to suit the clothing. The garment is fixed, only its drape adapts.

Their hair is never restyled: its length, texture, curl pattern and colour are exactly as shown in @image1 in every view. Never straighten, smooth, shorten, lengthen or recolour it, and never tie it into a bun, knot or ponytail.

Render the sheet as a botanical watercolour illustration with refined ink linework. Visible cold-pressed paper tooth throughout, granulating washes that pool and dry darker at their edges, wet-in-wet bleeds through the larger fabric areas, and a fine confident ink line that varies in weight and breaks where the form turns away. Soft natural colours, with the wash sitting slightly off its ink line here and there the way a printed botanical plate does. Materials read through the wash rather than through rendering: heavy canvas, soft cotton twill, dull worn leather, jute fibre, scuffed rubber sole. Soft, even, neutral illustration lighting with enough modelling to describe the forms without dropping any costume detail into shadow.

Plain warm off-white paper background. Near-orthographic viewpoint, minimal perspective distortion — the sheet stays square and measurable. No dynamic poses, no three-quarter views, no inconsistent garment details between views, no altered proportions, no changed hairstyle, no cropped anatomy, no scenery, no decorative background, no plants, no atmosphere, no text, no labels, no logos, no watermark.

Character sheet

This figure is a visitor to the growing hall rather than someone who works in it, and the costume must read as clearly different from the keeper's at a glance: no apron, no tools, softer and cleaner, layered for corridors rather than for wet floors. A collarless long cardigan in warm oatmeal wool, unfastened, falling to mid-thigh, the cuffs slightly stretched and pilled from wear. Beneath it a plain fine-knit top in dusty terracotta, tucked in. Straight-cut trousers in soft slate grey, clean at the hem. Simple low leather shoes in dark tan, polished thin at the toe.

A single flat shoulder satchel in worn dark canvas with a leather strap, hanging at the hip, the flap closed. Nothing is carried in the hands. Every piece reads as ordinary, well-kept personal clothing rather than working kit: no stains, no repairs at the elbows, no tool loops, no belt hardware. Restrained palette of oatmeal, terracotta, slate and dark tan. No badges, no insignia, no patches, no jewellery, no printed markings anywhere on the costume.

Render the sheet as a botanical watercolour illustration with refined ink linework. Visible cold-pressed paper tooth throughout, granulating washes that pool and dry darker at their edges, wet-in-wet bleeds through the larger fabric areas, and a fine confident ink line that varies in weight and breaks where the form turns away. Soft natural colours, with the wash sitting slightly off its ink line here and there the way a printed botanical plate does. Materials read through the wash rather than through rendering: soft pilled wool, fine knit, brushed cotton twill, worn canvas, thin polished leather. Soft, even, neutral illustration lighting with enough modelling to describe the forms without dropping any costume detail into shadow.

Match the paper, the wash behaviour, the ink weight, the lighting and the exposure of the keeper's character sheet exactly, so the two sheets can be combined into one frame without either looking pasted in.

Create a setting

Create an environment reference plate for a single continuous location: the arboretum of a generational starship — a vast enclosed growing hall carried through deep space, tended for generations, lush and inhabited rather than clinical. Landscape canvas at 1536x1024. Four panels in a grid two across and two down, uniform pale gutters, thin neutral panel borders, reading order left to right, top row first. Each panel is a 16:9 frame. Nobody appears in any panel.

All four panels are views of the same hall and must agree with each other in architecture, materials, planting and lighting, so that the space can be moved through without contradiction: the long planting table stands in the open middle of the hall, a deep aisle of planting runs away from one end of it, and the glazed canopy curves overhead across the whole volume.

Panel 1 — The long planting table. A generous work table of pale composite and worn timber, long enough for people to stand on both of its sides, its surface scattered with hand tools, empty seed trays, a coil of jute twine, spilt soil and a folded cloth. Standing alone in the clear middle of the table is one small ceramic pot with its lid closed, plain and unglazed, clearly the most cared-for object in the frame.

Panel 2 — The aisle of planting running away from the table, seen down its length: raised beds and trough planters in long rows, ferns and trailing vines spilling over their edges, orchids mounted on cork panels, tiled benches set into the sides of the aisle, hanging baskets suspended overhead on thin cables, and a floor of jointed composite slabs worn pale down the middle where people walk.

Panel 3 — The canopy overhead and the light sources. A curving glazed roof carried on slim ribbed structural arches, panes hazed and softly streaked with age, with the black of space and a scatter of stars beyond them. Slung beneath the arches on cables, long horticultural lamps in shallow reflectors throw warm light down over the planting; the cool starlit glazing above and the warm lamps below are the only two light sources in the hall.

Panel 4 — A wide of the whole hall from one end, showing how the planting table, the aisle, the beds, the benches and the curving canopy relate to one another in a single continuous volume, with the depth of the space, the layered greenery and the rows of lamps receding away.

Lighting is identical in every panel: warm horticultural lamplight falling from overhead through leaves, cooler pale light coming down through the hazed canopy, visible beams and soft haze in the humid air, and enough moisture in the atmosphere to soften the far end of the hall.

Render every panel as a botanical watercolour illustration with refined ink linework. Visible cold-pressed paper tooth, granulating washes pooling darker at their edges, wet-in-wet bleeds through the larger areas of foliage and glass, a fine confident ink line varying in weight and breaking where forms turn away. Soft natural colours — deep greens, pale composite, warm lamp gold, cool starlit grey — richly detailed foliage and glass architecture, luminous humid atmosphere throughout.

No people, no hands, no animals, no butterflies, no glowing plants, no readable text of any kind on any tool, tray, label or panel, no panel numbers, no captions, no arrows, no screens, no control panels, no instrumentation, no logos, no brand marks, no watermark.

Create a video

Botanical watercolour illustration with refined ink linework throughout: visible paper tooth, granulating washes that dry darker at their edges, a fine ink line that varies in weight and breaks where forms turn away, soft natural colours, luminous humid atmosphere, richly detailed foliage and glass architecture, and expressive but subtle facial acting. No text, no logos, no captions, no watermark.

@image1 is an absolute identity lock for the keeper: face, body, hair, apron, tunic, trousers, shoes, tool loop, materials and colours are taken from it exactly, with no drift and no reinterpretation in any shot.
@image2 is an absolute identity lock for the visitor, on the same terms: face, body, hair, cardigan, knit top, trousers, shoes and shoulder satchel exactly as shown.
@image3 is the location. All architecture, planting, materials, lamp positions, canopy and lighting direction come from it, and every shot stays inside that one hall.

Eight shots in sequence, in this order, each running about as long as the others.

The keeper stands at one side of the long planting table. Directly across from them, on the far side of the table, stands the visitor. Between the two of them sits the small closed ceramic pot. Both look down at it with interest.

The keeper places one hand lightly on the lid of the pot and looks up at the visitor, as if inviting their attention. The visitor leans forward slightly, hands resting on the table edge, eyes fixed on the pot.

The keeper slowly lifts the lid with one hand. The visitor stays opposite them and leans in a little further. Both direct all of their attention into the opening pot, faces showing anticipation.

Inside the pot is a tiny glowing seedling. The visitor's eyes widen and their lips part in amazement. The keeper smiles softly, pleased by the reaction. Light catches on the glazing overhead and on the leaves around them.

The keeper gently turns the pot with both hands so the visitor can see the seedling better from the front. The visitor keeps both hands on the table and follows the movement carefully with their eyes. The relationship stays clear: the keeper is presenting, the visitor is observing.

The visitor slowly lifts one hand, palm open, and holds it near the glowing seedling without touching it. The keeper watches that hand attentively, standing still, as if making sure they are gentle. The glow softly lights both faces from below.

A small butterfly settles on the rim of the ceramic pot. The visitor smiles with delighted surprise and turns their eyes toward it. The keeper shifts their gaze to the butterfly as well, sharing the quiet moment.

The keeper and the visitor now stand side by side at the end of the table, facing down the lush aisle of planting, the glowing pot resting on the table beside them. The camera pulls slowly back to reveal the full hall.

CAMERA
Calm, still, observational framing, held at standing eye level. Each shot carries at most one slow simple move. No handheld shake, no whips, no zooms, no punch-ins, no orbiting or arcing around the table, no speed changes. The only camera move in the piece is the slow pull back in the final shot.

LIGHTING
Warm horticultural lamplight from overhead through the leaves and cooler pale light down through the hazed canopy, exactly as established in @image3, constant from first frame to last. The seedling's own glow is the single soft light that grows in the frame once the lid is off, lighting hands and faces from below.

AUDIO
Quiet diegetic room atmosphere only: a faint ventilation hum far off, water moving somewhere in the beds, the small scrape of the lid lifting, the ceramic base turning against the table, leaves shifting, and one soft flutter as the butterfly lands. No music, no voices, no narration, no sound effects beyond these.

HARD RULES
The keeper is locked to @image1 and the visitor to @image2 in every frame either appears in. No drift, no reinterpretation, no substitution, and never a third person in frame.
The keeper and the visitor stay on opposite sides of the planting table for the first seven shots and only come to the same side in the final shot.
Every movement has a visible beginning, middle and end inside its shot: the lid is lifted by lifting it, the pot is turned by turning it, the hand is raised by raising it. Nothing is already done and nothing appears mid motion.
Neither of them ever touches the seedling.
The pot stays on the table at all times and is never picked up or carried.
The glow belongs to the seedling only. Nothing else in the hall glows, and no plant is luminous.
The light in the hall never changes level or direction; the only change in the frame is the seedling's glow arriving when the lid comes off.
The butterfly appears in the seventh shot and not before, arrives by flying in and landing, and stays small and ordinary.
No screens, no instrumentation, no control panels, no uniforms, no insignia, no spacecraft exteriors, no visible technology beyond the lamps and the canopy structure already in @image3.
No text, no captions, no subtitles, no titles, no logos, no watermark anywhere in frame.

ModelSeedance 2.5

Aspect16:9

Duration30s

Steps6

SourceX

Taken by the Light

FOUR SHOTS. VERTICAL. ONE PERSON ONLY. ULTRA-REALISTIC CINEMATIC SCI-FI. ASSET MAP - every reference is bound here and cited by tag below: @avatar - the person. This is who is on camera; face, hair, skin and body come entirely from @avatar and never from this text. CHARACTER LOCK - HIGHEST PRIORITY: the person in every shot is exactly the person in @avatar. Preserve their facial identity, facial structure, eye shape and spacing, eyebrows, nose, mouth, exact skin tone, hairline, hairstyle, hair length, texture and colour, freckles and distinctive marks, apparent age, build and body proportions, identically from the first frame to the last. Preserve their gender presentation exactly as shown; do not masculinize, feminize or otherwise reinterpret it. Do not beautify, slim, de-age or restyle them. No face changes, no identity drift, and no other people anywhere in frame. ATTACHED IMAGES ARE MANDATORY AND FINAL: if a reference is attached, that is the person - reproduce them exactly, in every frame, and never invent a different face, hairline, hair colour, skin tone, body or age. The attached reference outranks every word written below it. WARDROBE (from this text, never from @avatar): a pale floor-length robe of lightweight loosely woven fabric - long sleeves, an open front, a soft sash tied at the waist, and a long hem that trails on the ground, worn over matching loose full-length trousers in the same pale fabric. This is a unisex ceremonial robe, cut identically for any body: no logos, no lettering, no visible branding. The collar and shoulders of this robe are visible in every single shot, including the closest one - never a t-shirt, never a plain top, never bare shoulders. The reference shows their face and build, not this outfit - fit it to their body naturally without altering its cut, length, proportions or colour. The robe never changes the person: their hair length, hairstyle and gender presentation stay exactly as in @avatar. WORLD: an enormous, almost silent futuristic city at night. Glass towers climb out of frame, their windows glowing, thin neon lines running up their edges. The street is wet from recent rain and mirrors every light. Light mist and soft atmospheric fog. Above the rooftops there is no sky at all - the gap between the towers opens straight into the heart of a galaxy: dense drifting starfields and vast clouds of coloured nebula, close enough that they visibly move. Living inside that galaxy, an enormous creature glides slowly above the city like a whale through water. It has a solid rounded body with real volume - visible skin texture lit from within, soft shadow along its underside and flanks, slow rippling fins and a wide tail that flexes as it moves. It is a living animal made of light, not a flat glowing outline and not a drawing. Shot 1: a tracking shot from behind at walking height. The person walks slowly away down the middle of the wet street in the long pale robe, its hem trailing behind them, their steps sending small rings across the shallow water. Far above and ahead, the enormous creature slides across the gap between the towers. They slow to a stop and begin to tilt their head back. Shot 2: cut to a close shot of the person from the front, framed from the chest up so the collar and shoulders of the pale robe are clearly in frame. Their face is clearly lit and readable, head tilted back, looking up in silent amazement, eyes wide, lips slightly parted. Nebula light in soft blues and warm pinks moves across their face. Shot 3: cut wider. The enormous creature descends into the canyon between the towers until its body fills the whole gap directly above the person, so close its lit underside washes the whole street. The person stands small and alone in the middle of the wet road, head back, arms loose at their sides, the long hem beginning to lift around their ankles. Shot 4: THIS IS THE FINAL SHOT AND THE LONGEST SHOT OF THE FILM - it runs to the very end and the film closes on it. Cut to a low angle close on the person. The light closes around them and they rise: their feet lift cleanly off the wet street, the long hem and sleeves and their hair all stream downward as they climb, and water lifts off the road beneath them in slow threads. Their face stays turned upward, calm and amazed rather than frightened, clearly lit and clearly the same person. The camera stays with them and tilts up as they go, holding them in frame the whole way while the street falls away below and the creature's lit body grows above them, until they rise out of the top of the frame into the light. Stay on the person for this entire shot and end the film here. AUDIO: the deep quiet room tone of an empty city, faint water dripping and running, a low distant hum, one long low resonant call from the creature, and a soft rising swell of air as the person leaves the ground. Only one person exists in this entire video. No music, no narration, no dialogue and no voices. Do not generate subtitles, captions, on-screen text, a timestamp, a recording indicator, an interface overlay, a logo or a watermark. No second person, no crowd, no readable signage, no spacecraft, no tentacles, no grabbing or gripping of the body, no creature with a face or limbs, no final wide city shot without the person in it, and nothing that reads as a map or as lettering.

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Seedance 2.015s · 1:1