Seedance 2.5
Longer clips and more references, up to 1080p.


Which AI video model should you choose?
Seedance 2.5 is designed for longer single-generation videos and larger multimodal reference sets. Seedance 2.0 supports shorter clips and may offer different resolution options depending on your Topview workflow.
Seedance 2.5
Longer clips and more references, up to 1080p.
Seedance 2.0
Shorter clips, plus 4K when the file has to be 4K.
The limits, the 720p side-by-side clips, and the credit check are below.
This comparison uses the settings in Topview's web generator, not another provider's API. Duration, reference limits, resolution, and inputs can vary by mode, account, or platform. The limits below were checked in Topview's supported workflows as of 2026-10-16. For the latest options, check the generator before you render.
| What you're comparing | Seedance 2.5 | Seedance 2.0 |
|---|---|---|
| How long you can generate | 4–30s (per-second) | 4–15s (per-second) |
| Output resolution you can pick | 480p / 720p / 1080p | 480p / 720p / 1080p / 4K |
| Image references you can upload | Up to 30 | Up to 9 |
| Video references you can upload | Up to 10 | Up to 3 |
| Audio references you can upload | Up to 10 | Up to 3 |
| Total references in one brief | Up to 50 | Up to 15 |
| Max length per reference file | Up to 30.2s/file | Up to 15.2s/file |
| Built-in audio generation | Yes | Yes |
| Best fit for your project | Longer continuous stories + reference-heavy briefs | Higher-resolution short-form delivery |
Plan prices are on the .
You build open → develop → close inside 30 seconds — no stitching 2–3 short clips in post.
You lock more identities, products, motion takes, and audio beds into a single generation.
You feed a longer music bed or motion take without aggressive trimming.
You ship 4K from the generator tiers available today. Seedance 2.5 also outputs 480p, 720p, and 1080p.
Your ads and social clips already fit ≤15s — extra length won't help you.
If 9 images / 3 videos / 3 audio already covers your brief, 2.5's bigger budget may not matter.
Don't trust the spec table alone. Watch the same brief rendered on both Seedance 2.5 and Seedance 2.0, then pick what matches your quality bar. Seedance 2.5 files are test output on 2026-08-07. Seedance 2.0 files are test output on 2026-08-10. Both files in every pair are 720p.
Text only, 15 seconds, 16:9. The prompt asks for one orbiting shot, lightning, a hammer assembled from debris, and a final wide view.


Seedance 2.5 keeps one braided face from the close-up to the end. The hand calls lightning, the body is covered by a column of light, and the last shot is a wide view on the peak with the hammer already raised. The fragments are not shown fusing into the hammer.
Seedance 2.0 makes the mid-shot larger: the figure floats in a lightning vortex among rocks. The ending also has a hammer, but the body is hanging above the crater and the feet look unstable. It does not land the settled wide hero shot.
Use the 2.5 clip when you care about one face and the final composition. Use the 2.0 clip when you care about the scale of the lightning.
A high-concept mythological action VFX cinematic spectacle shot on Sony Venice 2 with Cine Alta 8K sensor and Leica Summilux-C lenses, featuring photorealistic golden lightning arc flashes, dynamic ray-traced particle physics, floating terrestrial debris, and glowing ancient divine runes illuminated by hyper-detailed volumetric atmosphere. The continuous, seamless 360-degree whip-pan camera begins in a low-angle orbital sweep around a muscular, bearded Norse god suspended in mid-air above a fractured obsidian mountain shrine under a tempestuous crimson sky. His initial solemn and stoic composure dramatically shifts into furious rage as his eyes burst into blinding blue plasma energy, casting vibrant specular highlights across his weathered skin and braided hair. As the camera accelerates its continuous spiral rotation around the god, he lets out a guttural, thunderous roar, raising his right hand to summon violent streaks of celestial lightning that erupt from swirling storm clouds. The raw electrical arcs violently pull floating stone fragments and divine liquid metal together into a swirling vortex, instantly fusing them into a massive, glowing, runic-engraved battle hammer in his fist. Upon gripping the weapon, he detonates a massive radial gravity shockwave that instantly pulverizes the surrounding floating boulders into fine stardust particles and ripples through the thick atmosphere, leaving the ancient fractured shrine beneath him pulsing with deep blue subterranean magic. The unbroken dynamic shot completes its orbital loop to settle into a dramatic wide hero framing of the god hovering amidst the dissipating energy dust, legendary, majestic, thunderous, and escalating from tense stillness to an overwhelming explosive climax.
Three reference images, 15 seconds, 16:9, no separate audio reference. Four spoken lines were not checked word by word.


Seedance 2.5 shows the approach: the two characters pass the cafe, stop to talk, then reach the doors. The doors open outward. At the end he is already inside and she follows, which reverses the requested order.
Seedance 2.0 is clearer on the door. He holds both doors while she walks in ahead of him. Clothes stay the same throughout.
Use the 2.0 clip for the entrance. Use the 2.5 clip for the street approach and the outward doors.
Text only, 15 seconds, 16:9, fixed interior.


Seedance 2.5 keeps the same car, the driving shiba, the gray cat, the raccoon, and the basket. A duck enters, and a grape appears. It does not play the croissant-hat handoff. The gray cat wears an ice-cream cone, and the watermelon sits on the raccoon.
Seedance 2.0 matches more of those props in the opening frame: watermelon hat, croissant, duck, phone, and the singing shiba. Within a few seconds the shiba is gone, the passengers change, and the car is briefly almost empty before a rearranged group returns.
Use the 2.5 clip. The 2.0 opening is the better prop list, and the rest of that clip does not stay one scene.
One reference image, one audio track, 15 seconds, 9:16. Beat matching was not scored.


Seedance 2.5 keeps the same five outfits. The group moves forward and, around 12 seconds, sits in a line. By the last frame the center dancer is in front again, so the new formation does not stay locked.
Seedance 2.0 gives the middle of the clip bigger individual dance poses. The ending is close to the opening V, not a finished line.
Use the 2.5 clip when the formation change matters. Use the 2.0 clip when you want larger dance poses and will accept the old formation at the end.
Text only, 15 seconds, 16:9, from the public-domain river scene in The Wind in the Willows.


Seedance 2.5 holds the quiet rowing shot: blue boat, willows, rat at the oars, mole in the stern. It then cuts inside the boat. The rat is already lying on the floor, and the bank is not in frame.
Seedance 2.0 plays the crash. The rat rows, the mole sits opposite, the bow hits the bank, and the rat falls backward with his feet up while the mole watches.
Use the 2.0 clip for the story. Use the 2.5 clip for the calmer rowing passage.
Two reference images, 15 seconds, 16:9, one take.


Seedance 2.5 keeps the order readable: low angle on the mech's chest, missiles leaving the mech's shoulders, the heroine climbing the armor, then a frontal hit on the glowing core. The ending is an energy blast, not the toy shell coming apart.
Seedance 2.0 reads clearly as a full figure at the start, and the ending breaks into colored toy pieces. The run toward camera and the climb onto the head interrupt the path, and the side explosion does not show a missile leaving the mech.
Use the 2.5 clip for the action order. Use the 2.0 clip for the toy-like breakup.
Our comparison framework focuses on prompt adherence, character consistency, action continuity, audio synchronization, and practical usability.
The six scenarios cover cinematic VFX, dialogue, ensemble acting, dance synchronization, literary storytelling, and game action.
Our planned benchmark uses three generations per model for simpler tasks and five generations per model for more complex tasks, totaling 52 generation attempts across both models.
Both models receive the same prompt and reference assets, with matching duration, resolution, aspect ratio, and audio settings wherever supported.
We preserve every submitted task, including failed generations and rejected outputs.
Each completed video is evaluated independently using a predefined scoring rubric.
To avoid cherry-picking visually attractive results, the representative benchmark output is selected based on its proximity to the median blind quality score for that model and scenario.
Separate marketing showcases may feature the highest-scoring output, but these are explicitly identified as selected examples.
Individual video outputs may vary between generations, even with identical prompts.
The benchmark is intended to help creators understand practical model trade-offs rather than claim that either model is universally superior.
Plan prices are on the Topview pricing page. The credits below are for the setups that were checked. They are not a permanent rate. Generation time changes with queue, prompt, and account conditions. The 90-second and 120-second figures belong only to the 1080p, 5-second test, not to the 15-second clips above.
| Setup | Seedance 2.0 | Seedance 2.5 |
|---|---|---|
| 10 seconds, 720p | 10 credits | 15 credits |
| 15 seconds, 720p | 15 credits | 22.5 credits |
| Text to video, 9:16, 1080p, 5 seconds | 12.5 credits, about 120 seconds | 18.5 credits, about 90 seconds |
Compare plans on the Topview pricing page.
On the one overlapping 1080p test, that range cost more. A 9:16, 1080p, 5-second text-to-video used 18.5 credits and about 90 seconds on 2.5, against 12.5 credits and about 120 seconds on 2.0.
Move to 2.5 when you keep hitting these walls on 2.0:
Don't upgrade just because 2.5 is newer. If your KPI is resolution, 2.0 may still be your production model on Topview today.
Explore single-model pages, examples, and prompt libraries once you've picked a direction.
Seedance 2.5
Full 2.5 capability hub — features, modes, and how to get started
Seedance 2.0
2.0 single-model hub for resolution-first workflows
Seedance 2.5 vs MiniMax H3
Cross-vendor comparison when you're evaluating other models
How to use Seedance 2.5
Step-by-step guide for your first 2.5 generation
Seedance 2.5 Examples
Curated 2.5 outputs to benchmark your own briefs against
Seedance Prompts
Copy-ready prompt templates for common scenarios
Need more than 15 seconds or a larger reference set, at up to 1080p? Try Seedance 2.5. Need 4K, or a shorter brief that already fits? Open Seedance 2.0.
Then set duration and resolution in the generator.
Image Ref 1

Image Ref 2

Image Ref 3

Pixar-style 3D animation, style locked to <<<Image3>>> , <<<Image1>>> and <<<Image2>>> — render everything exactly in their look. HAORAN, the young man from <<<Image1>>> , and XIAOYU, the young woman from <<<Image2>>> , run into each other on the sidewalk in front of the café from <<<Image3>>> , both breaking into surprised, warm smiles. XIAOYU says: "Haoran? What a coincidence!" He laughs: "First time seeing you since graduation!" She replies: "Come on in, coffee's on me." He answers: "Let's go." They walk up the steps together; HAORAN pulls the right door leaf outward by its brass handle — hinges on the outer edge — and holds it open as XIAOYU steps inside, then follows her in as the door swings shut behind them. Soft rounded stylized character proportions, subsurface scattering on skin, large expressive animated eyes, warm golden-hour cinematic lighting, gentle squash-and-stretch motion. The camera tracks them from across the street with a slow push-in. Dialogue in English with accurate lip sync, no subtitles. Avoid photorealistic faces, live-action look, 2D cel-shaded style, any style shift mid-clip, doors opening inward, sliding doors, or extra background characters entering frame.
Hyper-realistic wool-felt plush texture, cottagecore pastel palette, matching the reference image exactly. Fixed camera locked at this exact interior angle, no cuts, no camera movement. A hilarious and heartwarming 15-second road trip scene bursting with individual personality. [0-4s] The shiba inu driver is having the time of her life — head bobbing to music, singing loudly with mouth wide open, one paw drumming the steering wheel. The watermelon-hat cat films a selfie video, the duck photobombs by suddenly stretching its neck into frame with a loud honk, the cat rolls its eyes dramatically. The raccoon shakes its iced drink like a cocktail, ice cubes rattling. [4-8s] Sharp left turn! A comedic chain reaction: the croissant hat slides off the grey cat's head and lands on the bonnet kitten's face, covering its eyes — the kitten flails its tiny paws in confusion. The poodle slides across the back seat and squishes the bichon against the window, both bursting into laughter. The duck slides sideways with a deadpan expression, completely unbothered, like it has seen everything. [8-12s] Bumpy road! Everything bounces — a grape pops out of the picnic basket, flies through the air, and the raccoon catches it in its mouth mid-bounce, looking extremely proud of itself. One kitten in the pink basket gets bounced awake, grumpily grabs the edge of the basket, gives everyone an annoyed squint, then dramatically flops back down into the basket. The goldfish leaps out of the sloshing water and splashes back in. [12-15s] The road smooths out into warm golden light. All animals perk up, bright-eyed and alert, turning toward the camera with big open-eyed smiles — the shiba driver glances back with a wide grin and a thumbs-up paw, eyes sparkling; the croissant cat retrieves its hat, puts it on backwards without noticing, and blinks curiously at the camera; the bonnet kitten hiccups a tiny flower petal and giggles with wide shining eyes. Everyone stays awake, lively and energetic, eyes wide open, looking around cheerfully as sunset light glows on their fur. Every animal has exaggerated theatrical acting with natural fur physics — wide eyes, flattened ears, wagging tails, puffed cheeks, dramatic reactions, while rendering stays fully realistic plush-felt style throughout. All characters keep their eyes open and alert throughout, except the basket kittens. Blurred mountain scenery streams past the windows, tree shadows flicker across the interior.
Image Ref 1

The five dancers from <<<Image1>>> , keeping each dancer's exact face, hairstyle and outfit, perform street dance in the graffiti plaza, choreographed to the music in <<<Audio1>>> , every move landing on the beat. Formation change is required: starting in the V-formation from <<<Image1>>> , midway through the clip all five dancers travel to new positions — the center dancer moves to the back as the other four sweep forward into one horizontal line, finishing the routine in this new formation. Camera movement mirrors the music's rhythm and energy. Continuous single take. Use the ORIGINAL audio from <<<Audio1>>> unchanged; audio reference only, not visual reference. Avoid generated music, added sound effects, cuts, face distortion, identity swapping, subtitles, dancers standing in place for the whole clip.
A fifteen-second continuous shot, Edwardian pastoral watercolor style, soft riverside light. A water rat sculls a small rowing boat, painted blue outside and white within, along a gentle river, with a mole seated in the stern, exactly as the original text describes: "Believe me, my young friend, there is nothing—absolute nothing—half so much worth doing as simply messing about in boats. Simply messing," he went on dreamily: "messing—about—in—boats; messing—" "Look ahead, Rat!" cried the Mole suddenly. It was too late. The boat struck the bank full tilt. The dreamer, the joyous oarsman, lay on his back at the bottom of the boat, his heels in the air. "—about in boats—or with boats," the Rat went on composedly, picking himself up with a pleasant laugh." — Kenneth Grahame, The Wind in the Willows (1908), Chapter I, Project Gutenberg #27805 (Scribner 1913 ed.)
Image Ref 1

Image Ref 2

Toy-world giant boss battle CG, 15 seconds, one continuous take. Input references: <<<Image1>>> for character appearance — TOPVIEW BOT PRO exact costume and palette <<<Image2>>> for boss appearance — TITAN UNIT-01 final giant form, exact design and palette References are design sheets only: do NOT render the sheet layout, labels, swatches, scale panel or grey background. Extract character design only. Character lock (match <<<Image1>>> exactly, no changes): A small agile girl TOPVIEW BOT PRO with long silver-white hair in loose low twin tails, pale mauve eyes, calm focused expression. Yellow cat-ear cap with black inner ears and black cat face emblem, black and hot pink headphones with heart marks, heart earrings. Oversized yellow bomber jacket with black cat patches, PRO badge, X badges and pink hearts, white-black cropped top, pink belt with heart buckle, black shorts, pink heart mark on her thigh, mismatched socks, chunky yellow platform sneakers with pink soles. She carries a huge yellow and black toy cannon with pink handle and X markings, connected by pink cables to a back tank. Color palette locked: yellow #FFD400, hot pink #FF4D79, black #1A1A1A, white, grey. Boss lock (match <<<Image2>>> exactly): A hundred-meter toy titan mech in its tall heroic giant form, glossy injection-molded plastic and diecast materials, dense overlapping armor plates with oversized screws and molded seams. Deep grey and matte blue armor, blue helmet with hot pink crest raised above broad flat shoulder decks, glowing yellow eye visor, shoulder missile pods with yellow-black warning stripes and pink missile tips, pink-yellow energy lines, glowing chest core with pink X emblem set into layered chest armor plates forming flat ledges at varying heights — standable plates, deep seams, no man-made stairs or ladders. The titan is an active aggressive fighter: its head tracks her constantly, its fists strike and grab at her throughout the fight, servos whining with every motion. Environment: giant toy city battlefield — building blocks, gift boxes, toy trains, a Ferris wheel, teddy bears, plastic debris; realistic grey-white skyscrapers behind, bright blue sky, floating confetti. Timeline: 0.0–3.0s | Face-off Opening frame: seen from a low angle behind her — TOPVIEW BOT PRO stands with her back to the camera on a wide flat armor ledge beside the glowing X core, tiny against the titan's mass, facing up toward the helmet far above. Wind blasts through her twin tails and yellow jacket. She levels her cannon at the distant glowing visor. The titan's head tilts down, visor locking onto her and narrowing to a bright slit; both shoulder missile pods snap open with mechanical clicks. Camera: low-angle over-the-shoulder push-in past her toward the titan's head — her back to camera in the near foreground, the helmet towering above, shallow depth of field. 3.0–8.0s | Homing missile gauntlet The shoulder pods fire: missiles arc high into the sky trailing white smoke, then curve sharply downward and home in on her, chasing her path. She sprints up the titan's chest across overlapping armor plates, vaulting ledge to ledge as the homing missiles slam into the armor just behind her footsteps, each impact exploding into colorful plastic debris. The titan's left fist sweeps across its own chest to swat her — she slides under the passing fist without breaking stride, then fires once on the run, destroying the last missile behind her. Camera: fast side-tracking shot rising with her, wide lens, heavy motion blur, the sweeping fist and missile impacts crossing the foreground. 8.0–15.0s | Face-to-face point-blank finish As she reaches the shoulder deck, the titan's right hand rushes in to grab her — she leaps off the closing fingers, using the hand as a springboard, arcs through the air IN FRONT of the titan's face, and lands on the narrow brow ledge directly above the glowing yellow visor. She faces the titan's face head-on — her body turned OPPOSITE to the direction the titan faces, her back to the open sky, the huge visor glowing right in front of her. She presses the cannon muzzle horizontally against the center of the visor. The weapon charges yellow-pink energy for one beat while the titan thrashes — then she fires the beam horizontally straight INTO the face. The visor shatters inward, colorful energy bursts through every helmet seam, and the titan breaks apart into thousands of flying toy blocks and plastic pieces. She kicks off the collapsing face through the falling debris, landing on a giant tumbling block, still running forward. Camera: following her leap around to the FRONT of the titan's face, holding a frontal close shot — girl and giant face in the same frame, facing each other — during the charge and firing, then pulling wide as the mech shatters; follow her momentum through the debris. End frame: cut during her run across the falling blocks — no victory pose, no freeze frame, no fade. Style: AAA game boss battle trailer, stylized anime-inspired 3D CG, glossy toy materials, Ratchet & Clank + Astro Bot energy, extreme scale contrast between the small girl and the colossal mech, high saturation, cinematic rim light, physical debris simulation, motion blur, 24fps anamorphic widescreen. Audio: fast electronic rock, heavy drums, toy-box chimes, servo sounds, missile launch whooshes, homing missile whistles, sliding metal scrapes, cannon charge whine, massive beam impact, cascading plastic destruction; music cuts off mid-action. Avoid static camera, slow pacing, scene reset, character facing the camera in the opening shot, girl facing the same direction as the titan's head, girl standing on top of the head firing outward into empty sky, beam firing away from the titan, missiles flying away in straight lines, missiles appearing from off-screen without being launched, passive motionless boss, staircases, man-made steps, ladders, handrails, character redesign, hair or costume color change, blue jacket, bunny ears, weapon redesign, chibi proportions on the mech, rendering the reference sheet layout or text, extra limbs, distorted face, bad hands, subtitles, watermark, UI, gore, desaturated colors, slow-motion ending.