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Seedance 2.5 vs Omni 1.1 - same fashion video prompt on two coats

The same tool close-up prompts on two video models, for a rose brocade coat and a velvet coat

Oct 25, 20266 generations$3.69 total

Tested by Nouamane Benbrahim

Does the model really matter if the prompt is the same?

I ran the exact same prompts on two video models for two coats, a rose brocade coat and a long green velvet coat. Same references, same 10 seconds. The only thing I changed was how the references are tagged, since each model writes them differently. Each clip below shows which model made it.

Here's my exact process.

1. Run it on your usual model first

For the rose coat I used two references, a four-view product sheet of the coat and a still of the pink gloves cutting the brocade. I made it first on the model I'd been using all series.

Seedance 2.5$1.03

Exact prompt

Create a new video: a fast, rhythmic "how it's made" film of an oversized knee-length red-and-black rose brocade coat being made by hand, from a length of cloth to the finished coat. Only pink padded work-gloved hands and dark-sleeved forearms are ever seen; no face, no body. The work happens in a bright tailor's workshop with a worn wooden bench, soft daylight from the left, raking light across the raised roses. Crimson roses woven into black cloth, a matte-satin sheen, loose threads, chalk dust, steam. Fast, precise cuts on the beat, most shots well under a second, almost every shot an extreme close-up or macro with one clear move at a stated speed. The final scene is a held hero shot, noticeably longer than all the others. Roles, stated once: the coat in [Image1] is the subject. Its brocade of large crimson roses and leaves on solid black, its boxy shape, dropped shoulders, broad collar and lapels, and deep turned-back cuffs must match exactly and must not change. Take only the coat from [Image1], not its white background or sheet layout. [Image2] is the gloves and workshop only: bright pink padded gloves, worn wooden bench, soft window light from the left; keep the gloves identical in every shot, taking nothing from its pose or framing. [SCENE 1] Two cuts. First, an extreme macro of metal tailor's shears biting into the brocade along a chalk line, a fast lateral track. Then a tight shot riding along the blade as the cloth parts, loose threads springing free. [SCENE 2] Two cuts. First, a macro of the freshly cut edge, the weave and loose threads, raking light on the raised roses. Then a fast push-in on a single crimson rose, the woven texture filling the frame. [SCENE 3] Two cuts. First, a top-down view as a pink gloved hand flips the length of brocade over on the bench in one quick motion. Then an extreme close-up of the black reverse side, the long floats of thread showing the design in negative. [SCENE 4] Two cuts. First, an extreme close-up of chalk marking a line across the roses. Then pink gloved fingertips pinning a seam edge, a tight low angle. [SCENE 5] Two cuts. First, a macro of the needle punching down through the brocade on the sewing machine. Then a low track as the finished seam runs out under the foot. [SCENE 6] Two cuts. First, an extreme close-up of a gloved thumb pressing a seam flat. Then a macro gliding over the cloth as steam lifts off the roses and the sheen shifts. [SCENE 7] Two cuts. First, gloved hands turning a deep sleeve cuff back, a tight shot. Then a macro of the black lining against the crimson roses. [SCENE 8] Two cuts. First, an extreme close-up of the broad collar edge being shaped between gloved fingers. Then a quick push-in as the collar is folded flat. [SCENE 9] Two cuts. First, the coat lifted by the shoulders and lowered, the brocade falling heavy. Then a slow push-in on the coat resting on the bench. [SCENE 10] The finished coat from [Image1] laid flat on the bench, seen from above, large and centred, the whole coat fully visible with its rose brocade, wide collar and cuffs, no hands in frame, a slow push-in settling to a locked frame. Held steady. Match the coat from [Image1] exactly: red-and-black rose brocade, cut, collar and cuffs must not change in the final scene, and it must stay large and readable. Take only the gloves and workshop light from [Image2], not its cloth. No logos, no text, no lettering, no faces, no mannequin, no hanger, no headless shape, no extra fingers, no warped hands, no melting fabric.

Tight macros on the shears and the weave, a flip of the cloth to show the reverse side, then the coat laid flat on the bench.

2. Same prompt on the second model

Then the exact same prompt on the second model, at its lowest resolution.

Omni 1.1$0.30

Exact prompt

Create a new video: a fast, rhythmic "how it's made" film of an oversized knee-length red-and-black rose brocade coat being made by hand, from a length of cloth to the finished coat. Only pink padded work-gloved hands and dark-sleeved forearms are ever seen; no face, no body. The work happens in a bright tailor's workshop with a worn wooden bench, soft daylight from the left, raking light across the raised roses. Crimson roses woven into black cloth, a matte-satin sheen, loose threads, chalk dust, steam. Fast, precise cuts on the beat, most shots well under a second, almost every shot an extreme close-up or macro with one clear move at a stated speed. The final scene is a held hero shot, noticeably longer than all the others. Roles, stated once: the coat in <IMAGE_REF_0> is the subject. Its brocade of large crimson roses and leaves on solid black, its boxy shape, dropped shoulders, broad collar and lapels, and deep turned-back cuffs must match exactly and must not change. Take only the coat from <IMAGE_REF_0>, not its white background or sheet layout. <IMAGE_REF_1> is the gloves and workshop only: bright pink padded gloves, worn wooden bench, soft window light from the left; keep the gloves identical in every shot, taking nothing from its pose or framing. [SCENE 1] Two cuts. First, an extreme macro of metal tailor's shears biting into the brocade along a chalk line, a fast lateral track. Then a tight shot riding along the blade as the cloth parts, loose threads springing free. [SCENE 2] Two cuts. First, a macro of the freshly cut edge, the weave and loose threads, raking light on the raised roses. Then a fast push-in on a single crimson rose, the woven texture filling the frame. [SCENE 3] Two cuts. First, a top-down view as a pink gloved hand flips the length of brocade over on the bench in one quick motion. Then an extreme close-up of the black reverse side, the long floats of thread showing the design in negative. [SCENE 4] Two cuts. First, an extreme close-up of chalk marking a line across the roses. Then pink gloved fingertips pinning a seam edge, a tight low angle. [SCENE 5] Two cuts. First, a macro of the needle punching down through the brocade on the sewing machine. Then a low track as the finished seam runs out under the foot. [SCENE 6] Two cuts. First, an extreme close-up of a gloved thumb pressing a seam flat. Then a macro gliding over the cloth as steam lifts off the roses and the sheen shifts. [SCENE 7] Two cuts. First, gloved hands turning a deep sleeve cuff back, a tight shot. Then a macro of the black lining against the crimson roses. [SCENE 8] Two cuts. First, an extreme close-up of the broad collar edge being shaped between gloved fingers. Then a quick push-in as the collar is folded flat. [SCENE 9] Two cuts. First, the coat lifted by the shoulders and lowered, the brocade falling heavy. Then a slow push-in on the coat resting on the bench. [SCENE 10] The finished coat from <IMAGE_REF_0> laid flat on the bench, seen from above, large and centred, the whole coat fully visible with its rose brocade, wide collar and cuffs, no hands in frame, a slow push-in settling to a locked frame. Held steady. Match the coat from <IMAGE_REF_0> exactly: red-and-black rose brocade, cut, collar and cuffs must not change in the final scene, and it must stay large and readable. Take only the gloves and workshop light from <IMAGE_REF_1>, not its cloth. No logos, no text, no lettering, no faces, no mannequin, no hanger, no headless shape, no extra fingers, no warped hands, no melting fabric.

It's way wider. Most shots show the whole gloves and a lot of bench, and the gloves came out smooth like dish gloves instead of padded.

3. Push it harder, then bump the resolution

So I said "try prompting harder for extreme closeups and fast camera tracking". I rewrote every scene so a single rose or a needle tip fills the frame and the view is always racing along with the tool.

Omni 1.1$0.30

Exact prompt

Create a new video: a relentless, high-energy "how it's made" film of an oversized knee-length red-and-black rose brocade coat being made by hand, from a length of cloth to the finished coat. Only pink padded work-gloved hands and dark-sleeved forearms are ever seen; no face, no body. The work happens in a bright tailor's workshop with a worn wooden bench, soft daylight from the left, raking light skimming the raised roses. Crimson roses woven into black cloth, a matte-satin sheen, loose threads, chalk dust, steam. Every shot is an EXTREME close-up or macro so tight that a single rose, a few threads, a needle tip or a glove knuckle fills the whole frame, and in every shot the view is gliding fast: sprinting laterally along the cloth, riding along the tool, racing in or sweeping low across the surface, always moving with the work so it stays framed. Hard cuts on the beat, most shots well under a second, no slow or static shot until the final one. The final scene is a held hero shot, noticeably longer than all the others. Roles, stated once: the coat in <IMAGE_REF_0> is the subject. Its brocade of large crimson roses and leaves on solid black, its boxy shape, dropped shoulders, broad collar and lapels, and deep turned-back cuffs must match exactly and must not change. Take only the coat from <IMAGE_REF_0>, not its white background or sheet layout. <IMAGE_REF_1> is the gloves and workshop only: bright pink padded gloves, worn wooden bench, soft window light from the left; keep the gloves identical in every shot, taking nothing from its pose or framing. [SCENE 1] Two cuts. First, an extreme macro riding along the steel blade of tailor's shears as it bites into the brocade along a chalk line, the view sprinting along the cut at speed, the cloth parting and threads springing free. Then a racing low glide along the freshly cut edge, the weave and loose threads streaking past, a single rose swelling to fill the frame. [SCENE 2] Two cuts. First, an extreme macro skimming fast across the raised crimson roses, raking light flaring along each woven ridge. Then a fast push-in straight into the centre of one rose until the woven threads alone fill the frame. [SCENE 3] Two cuts. First, a top-down rush as a pink gloved hand flips the length of brocade over on the bench in one fast motion, the view tracking the flipping cloth. Then an extreme close-up gliding fast along the black reverse side, long floats of thread streaking past showing the design in negative. [SCENE 4] Two cuts. First, an extreme close-up racing along a chalk line drawn across the roses, chalk dust trailing. Then a tight low glide as pink gloved fingertips drive a pin through a seam edge, the glove knuckle filling the frame. [SCENE 5] Two cuts. First, an extreme macro locked on the needle tip punching down through the brocade at speed, the thread flicking. Then a fast low track riding along with the finished seam as it runs out under the machine foot. [SCENE 6] Two cuts. First, an extreme close-up as a gloved thumb drags fast along a seam, pressing it flat. Then a sweeping macro gliding along the cloth as steam lifts off the roses and the sheen shifts across them. [SCENE 7] Two cuts. First, a tight racing shot as gloved hands turn a deep sleeve cuff back. Then an extreme macro gliding along the edge of the black lining against the crimson roses. [SCENE 8] Two cuts. First, an extreme close-up gliding fast along the broad collar edge as gloved fingers shape it. Then a quick push-in as the collar is folded flat. [SCENE 9] Two cuts. First, the coat lifted by the shoulders and lowered, the brocade falling heavy, the view dropping with it. Then a fast push-in on the coat resting on the bench. [SCENE 10] The finished coat from <IMAGE_REF_0> laid flat on the bench, seen from above, large and centred, the whole coat fully visible with its rose brocade, wide collar and cuffs, no hands in frame, a slow push-in settling to a locked frame. Held steady. Match the coat from <IMAGE_REF_0> exactly: red-and-black rose brocade, cut, collar and cuffs must not change in the final scene, and it must stay large and readable. Take only the gloves and workshop light from <IMAGE_REF_1>, not its cloth. No logos, no text, no lettering, no faces, no mannequin, no hanger, no headless shape, no extra fingers, no warped hands, no melting fabric.

Still wide. Then I thought "maybe its the 360p try 720".

Omni 1.1$1.00

Exact prompt

The gloves got closer to the real ones, but the framing barely moved. So I switched back for the next few products.

4. Try again on a new product

A few days later I gave it another shot on the velvet coat, with my newer prompt where every cut is an extreme close-up on a tool. Here's the first model at 480p, upscaled to 720p so the two clips match.

Upscale to 720p$0.06

Exact prompt

Upscale to 720p at 30fps

And the second model at 720p.

Omni 1.1$1.00

Exact prompt

Create a new video: a fast, rhythmic "how it's made" film of a long deep forest-green wide-wale velvet coat being made by hand, from a single layer of green velvet to the finished piece. Every shot is an extreme close-up on a tool at work, so close the tool fills the frame, and neon-pink gloved fingertips are at the edge of every process shot; never a bare hand. Only gloved fingertips and dark-sleeved forearms are ever seen; no face, no body. The work happens in a tailor's workroom: hard window light raking in from the left across the velvet so every rib and the pile sheen shows, soft warm fill, a worn wooden table, shelves and a sewing machine falling out of focus behind. Green velvet pile, silk thread, chalk, steam. Fast, precise cuts on the beat, most shots well under a second, high-energy motion, with cuts matched on lines and rounds (the velvet ribs, the chalk line, the stitch line, the round dark buttons). Every shot has one clear move with a stated speed, and the frame follows the tool along its work: it rides alongside the shear blades, tracks the needle, glides with the steam. Several shots are filmed from directly beneath the work, looking up through a clear glass plate at the tool coming toward us. The final scene is a held hero shot, noticeably longer than all the others. Roles, stated once: <IMAGE_REF_0> is a reference sheet of the coat, used for detail accuracy only: its deep forest-green wide-wale velvet with vertical ribs, large rolled shawl collar, double-breasted front with eight dark round buttons in four pairs, fitted waist seam under the bust and long flared skirt must match exactly and must not change; ignore its grid layout, white background and flat pose. <IMAGE_REF_1> is the hands only: padded neon-pink work gloves with dark sleeves, kept identical in every shot, taking nothing from its table or pose. <IMAGE_REF_2> is the workroom only: take its table, shelves, sewing machine and window light, not the cloth laid out on it. [SCENE 1] Two cuts. First, an extreme macro from below through glass as a pink gloved fingertip presses the green velvet pile flat against the glass, the ribs parting, slow push-in. Then an extreme close-up top-down as tailor's chalk draws a line and a nap arrow on the back of the velvet, a fast lateral track along the line. [SCENE 2] Two cuts. First, an extreme close-up from beneath the glass, looking up as the steel blades of the shears open over the chalk line, a single layer of green velvet parting, a fast track riding along the cut. Then a tight low lateral track alongside the blades as they bite on down the line, a pink gloved fingertip holding the edge. [SCENE 3] Two cuts. First, an extreme macro on the tip of a fine hand needle pulling a loop of silk thread through the velvet as a tailor's tack, a held tight push-in, pink fingertip at the edge of frame. Then an extreme close-up as the tips of small scissors snip a notch into the seam allowance. [SCENE 4] Two cuts. First, an extreme close-up fast track along a row of diagonal basting stitches holding two velvet panels together, a pink gloved fingertip smoothing the pile ahead. Then an extreme macro from directly below through glass looking straight up as the walking foot presses down and the needle punches through the velvet, no hand in frame. [SCENE 5] Two cuts. First, an extreme close-up fast lateral track along the stitch line as the needle runs with the pile, thread racing through, the green ribs sliding past, no hand in frame. Then an extreme macro gliding across the finished seam as the raking light rolls along the velvet sheen. [SCENE 6] Two cuts. First, an extreme close-up of the velvet lying face-down on a needle board as a burst of steam rolls out of the iron held just above it, the iron never touching the pile, a pink glove on the handle at the edge of frame. Then an extreme macro of the green pile springing back up in the steam. [SCENE 7] Two cuts. First, an extreme close-up as the tips of small shears slash a bound buttonhole between two velvet welts, a held tight push-in. Then an extreme macro as a pink gloved fingertip pushes the welts through to the inside, a quick push-in. [SCENE 8] Two cuts. First, an extreme close-up low orbit along the edge of the large rolled shawl collar as a pink gloved fingertip rolls it over, the ribs curving with it. Then an extreme macro from below through glass as a hand needle catch-stitches the hem, thread drawing tight. [SCENE 9] Two cuts. First, an extreme close-up fast push-in as a needle draws thread through the shank of a dark round button onto the green velvet, a pink fingertip steadying the button. Then an extreme macro from below through glass as the button seats tight against the ribs. [SCENE 10] The finished coat from <IMAGE_REF_0> standing alone on a plain dress form in the workroom, the whole long coat fully visible from the shawl collar down to the flared hem, filling most of the frame height, large and centred, its double-breasted front with eight dark buttons clearly readable, a slow push-in settling to a locked frame, window light raking across the velvet ribs. Held steady, no hand holding it. Match the coat from <IMAGE_REF_0> exactly: deep forest-green wide-wale velvet, shawl collar, eight dark buttons, waist seam and flared skirt must not change in the final scene, and it must stay large and readable. Take only the hands from <IMAGE_REF_1>, always neon-pink gloved. Take only the workroom and light from <IMAGE_REF_2>. No logos, no text, no lettering, no subtitles, no watermarks, no branding anywhere. No faces, no bare skin, no bare fingers, no bare hands, no extra fingers, no warped hands, no melting fabric, no headless mannequin shape.

It framed wider again, and it skipped the shot through the glass. But its final shot is brighter and you can actually count the eight buttons. The first model got the tight macros and the fingertip-on-glass opener. The second model also rendered in about a minute, while the first took around six or seven.

5. Match the resolution before you compare

One tip if you're posting a side by side: render both at the same resolution, or upscale the lower one first. Otherwise the blurrier one looks worse even if its motion is better. And check your upscale full screen. Mine showed a couple of blended-looking frames around the cuts in the preview, and those are the moments to look at before you post.

Why it works

Running the same prompt on a second model is how I figured out the wide framing wasn't my prompt. Four tries in, the second one kept framing wider than I asked, so for this style I stuck with the first one.

Your turn: take your best prompt and run it on a second model before you rewrite it.

Emero writes the prompt the way each model wants it, so testing a second model is one message. It's all at cost.

Total for this workflow$3.69

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