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GIANT PET ON THE COUCH — Seedance 2.5, three shots, ~10s
@Image1 — photo of the person (face; identity only). Gender is
taken from this photo, nothing in the text assumes it.
@Image2 — photo of the animal
Aspect ratio, resolution and duration are tool settings — not in the
prompt text.
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References
@Image1 — face and hair reference for the person. Reproduce their face exactly: same face shape, skin tone, eye shape and colour, brows, nose, lips, jaw, same age, same gender exactly as photographed — if the photo is of a man the character is a man, if the photo is of a woman the character is a woman, never changed, never softened, never swapped. Reproduce their hair exactly as well: same hairstyle, same length, same cut, same parting, same colour, same texture, and worn the same way — loose, tied, braided or pinned exactly as in the photo. Any facial hair in the photo stays exactly as it is. The only thing allowed to differ from the photo is that the hair gets mussed when they lie down — the same hairstyle, length, cut, parting and colour, just ruffled by the cushion, with loose strands lifting and falling in different directions. Do not beautify, do not restyle the facial features, do not restyle, recolour, lengthen or shorten the hair, do not elongate or stretch the head or face. Natural human proportions: head about 1/7-1/8 of full body height, normal shoulders and waist, never an artificially cinched waist. Take nothing else from this image — not the clothing, not the background, not the pose, not the framing.
@Image2 — the animal. Reproduce this exact animal one to one at every size: same species, same breed, same coat colour, length and texture, same markings, same ears, same muzzle, same eyes, same build, same tail. Never substitute another breed, never invent markings, never stylise it into a cartoon, a plush toy or a CG creature. This image is the absolute source of truth for the animal — do not redesign it.
Core scene
The person from @Image1 is lying on a sofa at home, resting, eyes half closed, thinking about nothing. The animal from @Image2 — but gigantic, longer than the whole sofa and taller at the shoulder than a standing adult — walks in and climbs up onto them. They end up lying under the animal, buried in its coat, both hands stroking it, grinning. Nobody in the scene treats the size as strange.
Wardrobe & setting
The person wears plain soft home clothes: a simple cream cotton t-shirt and loose grey sweatpants, barefoot.
The room is a classic old European apartment — a Haussmann-style Parisian flat — filmed in the evening with the lamps on. High ceilings with an ornate carved plaster ceiling rose in the centre and moulded cornices running around the edges. Walls painted warm off-white with tall rectangular boiserie panelling and moulding frames. A herringbone parquet floor in mid-brown oak, with a large flat muted sage-green rug laid over it in the middle of the room.
Along the left wall stands a low modular sofa in cream-white fabric: deep quilted puffy modules, thick rounded cushions, a soft slouchy chunky look, low to the ground with no legs visible. A folded knitted throw in navy blue and cream lies over one end of it. In front of it sits a long low rectangular coffee table made from a single thick slab of white marble with warm grey and amber veining, a solid marble block base. On the table: a dark wooden tray with two small ceramic bowls and glass tumblers, a tall glass bottle of olive oil, a stack of books, a short red glass candle holder with a lit candle, and a small chrome sphere ornament.
On the far wall is a fireplace in dark red-brown veined marble with a live fire burning low in the grate, throwing a small warm orange glow. On the mantelpiece stands a table lamp with a wide pleated beige shade on a slim brass stem, switched on. Above the fireplace, a tall arched alcove with a mirror inside it, and a big vase of long green olive-like branches standing in front. On the wall to the left of it hangs a large framed abstract artwork in terracotta and rust, textured in fine vertical ridges. Beside the sofa stands a small dark carved wooden pedestal side table with a candle on it.
To the right of the fireplace an open doorway with a wide white moulded frame leads through to a dining room: a round pale stone table, light wood wishbone chairs with woven seats, a small lamp and a vase of flowers on the table, a white domed pendant lamp hanging low over it, and full-length grey-beige curtains drawn across the window behind. On the right side of the living room stands a rounded brown leather armchair — low, chunky, tufted, soft and slouchy — on the green rug, and further right a tall white panelled double door with a brass handle and a low dark wood cabinet against the wall.
Hanging from the ceiling rose in the centre of the living room is a minimal black pendant light made of thin crossed metal bars, unlit. Overall light: warm, dim and amber, coming only from the lamps and the fire — evening, not daylight. Lived-in rather than staged.
Global setup / style
Three shots, one clean cut between each. Handheld-stable framing with only the tiniest natural drift — no fast moves, no zooms, no push-ins, no tilts to fake the animal's size. Photoreal home video, mild depth of field, lit only by the practical lamps and the fireplace already in the room. It must look like real footage of a real room, never cartoon, never plastic, never obviously computer-generated. Muted and calm: warm dim amber evening light, soft shadows, no dramatic lighting, no effects, no magic, no glow. The lamps and the fire stay exactly as bright as they are and never flare, pulse or change.
Timeline
SHOT 1 — 0:00-0:03 — Medium, from a distance
Medium shot taken from several steps back, not a tight close-up: the cream modular sofa and the person's whole upper body are in frame, with the panelled wall, the marble coffee table and part of the lit fireplace visible around them. The person walks up to the sofa, turns, and lowers themselves down onto it — sitting first, then swinging their legs up and letting their upper body drop sideways onto the cushion, settling in. Their head sinks into the cushion and their hair is pushed out of place by the movement: pressed flat on the cushion side and lifting away in loose ruffled strands in different directions on the other, a few strands falling across the forehead. They let out a long breath and go still, eyes open but unfocused, looking slightly past the camera, thinking. The camera barely moves. The animal is not visible and not heard in this shot.
CUT
SHOT 2 — 0:03-0:07 — Wide, camera exactly perpendicular to the sofa, whole sofa in frame
Camera position: standing on the floor across the room directly in front of the sofa, back far enough that the ENTIRE sofa fits inside the frame — both ends, every module, the full backrest, and the person lying along it from the top of their head to their bare feet, with empty rug and parquet floor below and wall and ceiling moulding above. The sofa never runs out of the frame at either end and is never cut off by the edge of the picture.
Camera angle: the lens points exactly perpendicular to the sofa — a true 90-degree side-on view, straight at the long front of the sofa and flat at the panelled wall behind it. The long front edge of the sofa runs exactly horizontally across the frame, parallel to the bottom of the picture, from one side of the frame to the other. The panelled wall behind is seen flat-on, its mouldings squarely parallel to the frame edges, with no corner of the room and no converging perspective lines; the lit fireplace sits at the far edge of the frame. The person lies across the frame horizontally, in pure profile. Camera height is low — around knee height, roughly the height of the sofa seat.
The enormous animal from @Image2 walks in from the side, entering from the left or right edge of the frame at floor level, crosses in front of the sofa and is seen in full profile. It is gigantic: its body is longer than the whole sofa, so it spans the full length of the sofa and overhangs past both ends; standing on all four legs its back is higher than a standing adult's head, its shoulder above the top of the marble fireplace, and its head reaches roughly two thirds of the way up the tall wall toward the ceiling moulding. Next to it the sofa looks like a piece of doll's furniture and the person looks tiny.
It jumps up sideways onto the long front edge of the sofa, not over the arm and not from the foot end: it plants its huge front paws down on the seat cushions, drives up off the floor with its back legs and heaves its whole body up in one heavy movement, turning as it lands so it comes to rest along the sofa. The soft quilted cushions are crushed almost flat under it, the modules shift and slide apart, and the knitted navy-and-cream throw is dragged off onto the green rug. The person, still lying down, is pushed into the backrest and laughs. The camera holds still, stays exactly perpendicular to the sofa and takes the whole animal in without moving.
Both the person and the animal are fully visible in the same frame at the same time for the whole shot — the person is never hidden behind the animal, never cropped out of frame, and the animal is never seen from the front or from behind.
CUT
SHOT 3 — 0:07-0:10 — Medium
Medium shot from the side, closer in. The person is still lying on the sofa, now with the gigantic animal lying on top of them — its body completely covering them from shoulders to knees and overhanging both ends of the sofa, its head alone bigger than their whole torso and resting beside theirs on the cushion, its weight pressing them deep into the crushed cushions. Only their face, shoulders and arms are visible past the enormous coat, small against it. Both hands are up in the fur, stroking slowly along the animal's neck and side, fingers sinking into it. They are grinning, eyes half shut, cheek against the animal's head. The animal breathes deeply and slowly, its ribs rising and falling, and pushes its head a little closer. They keep stroking. Hold on this until the end.
Sound
Quiet evening apartment ambience, the low crackle and settle of the fire, faint muffled street noise from outside. Bare footsteps on parquet and then on the rug, the soft compression of cushions as the person drops onto them, fabric shifting, one long exhale, then calm breathing. Heavy padded footfalls on the parquet and the rug, the thump and creak of the sofa taking the weight, quilted cushions compressing, the throw sliding off onto the rug, the glassware on the marble table ringing faintly. A short warm laugh. Deep slow animal breathing throughout the last shot, the dry rustle of a hand moving through thick fur, fabric shifting. No music, no dialogue, no speech, no voiceover.
Physics/continuity lock
It is the same person, same room, same sofa and same animal across all three shots — same clothes, same cushions, same light, same camera side of the room. The hair starts tidy as the person walks to the sofa, gets ruffled by the cushion at the moment they lie down, and stays ruffled in exactly that same way for the rest of the first shot and through the second and third — never tidying itself back up, never restyled, never a different hairstyle. Nothing in the room changes between cuts: the fire stays lit, the mantel lamp stays on, the ceiling pendant stays off, and the coffee table, rug, armchair and doorway to the dining room stay exactly where they are.
The animal is gigantic from the first moment it appears and stays exactly that size until the end. Concretely: standing on all fours it is longer than the entire sofa, its back is higher than a standing adult's head, its shoulder is above the top of the marble fireplace, and its head reaches about two thirds of the way up the wall. It is several times the size the species really is — do not settle for merely large, do not quietly scale it down toward a normal or dog-sized animal, and do not shrink it to make it fit the frame or fit the sofa. It must dwarf both the person and the furniture in every shot it appears in. It never grows, never shrinks, never changes size between shots, and is never quietly scaled down to fit the frame. Its size is shown by comparison with the sofa, the person and the ceiling, never by moving the camera.
At this size the animal keeps the correct anatomy of its species: correct number of legs, correct paws and joint directions, head-to-body ratio unchanged, fur detail scaled up with it. It never stretches, never distorts, never becomes a different animal.
The animal enters from the side of the frame, at floor level, in profile — never from behind the camera, never already in the room, never from the foot or the head end of the sofa. It gets on over the long front edge of the sofa, not over an arm. Getting on is one continuous physical action, shown in full: front paws onto the seat, weight shifting forward, back legs pushing off the floor, body coming up. It never simply appears on the sofa between frames, is never lifted, and never floats up.
Real weight throughout: the cushions visibly compress and stay compressed under it, the sofa takes the load, the person's body is pressed down into the cushions by it. The animal is in real physical contact — never hovering above the person, never intersecting or sliding through them or the sofa.
The person stays comfortable and clearly happy under the weight — relaxed face, open smile, easy breathing. Never crushed, never panicking, never in pain, never struggling. The animal is calm and affectionate — never aggressive, never baring teeth.
The hands are genuinely in the fur: the coat parts and moves under the fingers, and the hand follows the curve of the body. The hands never pass through the animal and never rest on empty air.
The person's face is exactly the one in @Image1 in every shot, with the same gender, age, hair and facial hair, and nothing else is taken from that image. The animal is the one from @Image2 in every shot — same breed, coat and markings from the first frame to the last.
Five fingers on each hand, correct hand anatomy. Correct human anatomy lying down: normal limb lengths, no bent or missing legs, no extra arms.
The first shot is framed from a distance as a medium shot, never a tight face close-up, and shows the person lying down as one continuous physical action — walking to the sofa, sitting, legs up, upper body down onto the cushion. They never simply appear already lying on the sofa. The second shot is filmed with the camera exactly perpendicular to the sofa — a flat 90-degree side view. This is mandatory and is the single most important thing about that shot. The sofa's long front edge is horizontal and parallel to the bottom of the frame, the wall behind it is seen flat-on with its panel mouldings parallel to the frame edges, and there is no perspective angle, no visible room corner, no converging lines, no three-quarter view, no diagonal framing, no front-on or over-the-shoulder angle, no high or low angle, no view from the head or the foot of the sofa. The person lies horizontally across the frame in pure profile and the animal is in pure profile too. The camera is far enough back that the whole sofa — both ends, the full backrest and the person from head to feet — is inside the frame at all times, together with the whole animal. The sofa is never cut off by the frame edge and never runs diagonally out of the picture. The camera does not drift off this angle or this distance at any point in the shot. Exactly three shots with two hard cuts. No other cuts, no transitions, no dissolves, no jumps in time or place, no camera moves inside a shot beyond a tiny natural drift.
Everyone is solid and physically present, casting real shadows in the room. Nobody fades, dissolves, teleports or is erased in place.
Nobody speaks. No words, no dialogue, no muttering, no lip-sync, no mouth shapes forming speech.
No slow motion, no speed ramping, no heavy colour grade, no lens flare, no film grain.
No extra people, no second animal, no on-screen text, no subtitles, no logos, no watermarks, no duplicated character.
Style lock
A beautiful old apartment on an ordinary quiet evening, warm lamplight and a low fire, filmed plainly, with one impossible thing lying on the sofa and everyone completely at peace with it.