Magnific shares SMOKE workflow for continuity across 42 shots

• Character sheets and a family height reference anchored continuity across 42 shots, according to Magnific's breakdown.
• Production took ten working days, with all video generated using Seedance 2.5 Pro, per the production breakdown.
• Five published location prompts spell out camera positions and blocking, as documented in Magnific's location thread.

A departure sequence pins the final line to 00:23, then leaves three seconds for a hug. Magnific gets wonderfully fussy in the platform prompt, reserving an empty train window at child height for a later shot.

SMOKE is a 4:56 drama following Ana and her sons Dani and Nico out of a war-torn city toward a railway station. Mario Alonso directed from Rosa Quesada's original idea, with Marina Rueda handling AI visuals and editing, as listed in the credits.

The team established faces and clothing before building scenes. A group image fixed the family's relative scale: Nico had to stay a head shorter than Dani, including while turning or walking, according to Magnific's production notes.

Approved assets lived in a shared reference library, which also held locations, props and key stills.

Each location started with a single wide image, with detailed prompts supplying other camera angles. Dialogue scenes exposed more fragile continuity; the team says it would create a second reference angle next time.

Magnific published five location prompts. A recurring “Cold Haze” look specifies a desaturated petrol-blue and eucalyptus-grey palette, green-blue shadows, lifted blacks and low contrast.

1. Open field: Exactly three irregular smoke plumes rise above a distant city in a 24mm extreme wide shot. The prompt excludes flags, visible weapons and foreground explosions.
2. Path along the tracks: Warehouses flank a symmetrical chest-height view, with industrial smoke explicitly excluded.
3. Train station: A steam train with wooden carriages and tiny figures establish scale in a 21:9 bird's-eye view.
4. Train platform: A 35mm view places the carriage directly against the platform edge, repeatedly excluding any intervening track.
5. Train carriage: An interior 24mm view reserves an empty window seat and standing room for two people. That particular window must remain closed, while others can be open.

The departure case study documents a six-shot, 27-second sequence in 21:9 using 11 references. Its production notes describe five controls:

1. One frame per shot: Six frames from earlier takes fixed composition, set and lighting, with character sheets preserving faces and wardrobe.
2. Locked screen positions: Nico stayed on the left; Dani sat at the window on the right. Nico was instructed never to look right, preserving the difference between what the brothers could see.
3. A precisely described gesture: Ana's fingertip touches the tip of her nose. Without that specificity, the model interpreted the gesture as a shush.
4. Timed action: Each shot received its own start and end time, alongside camera movement, performance and dialogue instructions.
5. Draft before HD: The team iterated in Draft and moved only the chosen take to HD to save credits and time.

Magnific split production into:

• Three days: Pre-production.
• Four days: Generation.
• Three days: Post-production.

The production page reports roughly nine generations per final shot and identifies three supporting tools:

• Nano Banana 2 4K: Reference images.
• ElevenLabs SFX: Sound effects.
• Magnific: Four upscales.

For difficult moments inside long multishots, the team describes manually extracting a frame that captures the desired character position and environment, then regenerating that individual shot with a fresh prompt. This gave it more control over acting and camera movement without regenerating the whole sequence.

Magnific describes the technique as a fallback because it can affect final quality, despite saving generations.