The camera dose

One designed move per shot, with its size written twice: once in numbers, once as what the frame shows.

The default [proven for the move; official guidance for the dose]: one designed, dosed move per shot. Your CAMERA block (block 7 of the prompt; see Video with Seedance → The prompt grammar) gives:

• The rig and the move: dolly, slider, jib, gimbal or shoulder; a push, pull, arc, crane, track, whip or handheld walk; and its direction.

• The dose, written twice: in metres, degrees or time, and as the visible change of framing. "A push of 40 cm over 5 s; his face grows by about a fifth." "The lamp post sweeps across the full width of the frame."

• Speed: in everyday words, or in km/h ("tracks left at a walking 4 km/h"). No one who publishes Seedance work writes metres per second, so km/h stays.

• A pace that travels: a bare "slow" becomes "unhurried but clearly travelling", always beside the dose.

• Travel or stay put: does the camera move through space, or hold its position and pan?

• Placement: the camera's height and distance in metres, which side of the line of action it keeps, where it aims, any roll, and a foreground object the camera passes.

• Focus: name the focus point, and the aperture where depth matters; a frame sharp from front to back reads as rendered.

• The trigger, the start and landing, and the foreground element it passes: see Camera and lens → The trigger, Camera and lens → A composed start and landing and Camera and lens → Parallax in metres.

Why twice. Seedance can under-deliver a move, and it adds drift to a still one. (In Higgsfield's remixes of energetic reels, the clips kept only about a third of the original's camera energy; that measured fast reels, not a written dose.) Write each move at full strength with its visible framing change; if it comes back weak, write it stronger and regenerate. Camera energy added in finishing is only a montage accent.

The rules that come with it

• Two moves need a cut between them, or a hold followed by the one move, written as timed phases ("still for the first 2 s, then a push from 2 s to 7 s"). Never a compound move. The ACTION / TIMELINE block places the camera along its one move; it never writes a new move per window.

• Entrances and exits come from or leave by a named frame edge, with weight shifting at a natural pace. Never "appears" or "rises into view".

• Slow motion is designed inside the shot, with the move written in screen time (see Video with Seedance → Slow motion and speed ramps).

• Speaking shots, Arabic included: gentle movement is the default. During the words the camera breathes or pushes very slowly, written large enough to show; bigger moves come before or after the line (decided). See Speaking shots and lip sync → The camera during speech.

The bar this protects is the motion standard (decided): every shot stunning and dynamic next to the treatment, the anchors and the plan, with camera, acting, body, hair, hands, face, the product's texture and light moving together; each shot distinct in acting and camera, yet fitting the rest. A slow or static camera where the plan wants motion fails, whatever else holds.

Three words in that rule:

• the treatment is the film decided in words and pictures (see Writing the treatment);

• the anchors are the approved sheets, plates and product photos (see Photoreal anchors (Nano Banana Pro) → What an anchor is);

• the plan is your shot plan (see Planning, budgets and takes).

Worked moves are in every shot recipe (the index: Video with Seedance → How to read a recipe). The CAMERA slot is in Video with Seedance → Templates A, B and D.

Sources

• Higgsfield's Seedance 2.5 prompt builder (km/h speeds); Higgsfield's katana workflow (the remix measurement).