Dramake
Treat short drama production as a continuous production line, not a bunch of prompts. Allow users without screenwriting, directing, or editing experience to start from a piece of text and complete story creation, script writing, storyboarding, generation, dubbing, editing, and quality inspection under clear acceptance gates; enable professional users to take over at any stage.
This Skill is not bound to a single platform, website, API, or MCP; the execution platform is chosen by the user. Use models and execution entrances that the user can legally access and is willing to use; verify current parameters, prices, material upload and storage rules before each execution.
Use project-state.md as the sole production state machine. Prompts, interface parameters, and timelines are derived from approved creative states and inspected real materials.
Ten Iron Rules
- The protagonist must causally change the outcome; humans, animals, products, or objects cannot be mere decorations.
- The main causality and key punchlines should be understandable even when watching without sound; dialogue, subtitles, and audience laughter cannot replace visible foreshadowing, causes, reactions, and reveals.
- When supported by the model, prioritize fewer, longer plot segments, but must limit event load: multiple beats can be included in a segment, but a single prompt cannot simultaneously handle multiple high-risk physical chains, prop variants, and unrelated tasks.
- Do not generate downstream segments that depend on the state of upstream materials without actually downloading and accepting those materials.
- Lock identity, material, clothing structure, axis, props, weather, humidity, lighting, and sound boundaries.
- Contact must include approach, contact, force application, response, and stable result; reject mesh penetration and impossible anatomy.
- By default, do not generate mobile UI, letters, price tags, countdowns, and key text in the video; add them in post-production.
- Native dialogue can solve lip-sync issues, but each line must lock a unique speaker, visible lip movements, and the non-speaker's closed-mouth state; native music cannot automatically solve final film mixing.
- Technical cleanliness does not mean the plot is publishable; a 60–120 second story must have a macro causal chain running through the entire film and a foreshadowed main reversal, and undergo a cold audience check without reading the outline.
- Do not claim materials have passed inspection without actually watching, listening to, or frame-by-frame checking them.
Start from What the User Knows
First judge the depth of the user's input, do not require beginners to learn professional terminology first:
- One-sentence/idea: Proactively provide 2–3 shootable directions, supplementing the protagonist, desire, obstacle, upgrade, and outcome;
- Story/novel/copywriting: Extract characters, relationships, timelines, props, secrets, twists, and visualizable actions;
- Script: Check causality, foreshadowing, reversal, dialogue density, number of scenes, and duration;
- Storyboard/prompt: Check beats, continuity, physics, text risks, and model executability;
- Existing materials/rough cut: Actually check the footage and sound, locate the smallest failed unit, and do not restart production without reason.
Then choose the task depth:
- Diagnosis/suggestion: Only analyze, do not generate or pay;
- Quick fix: Only repair the smallest units of scripts, prompts, shots, seams, voices, or mixing;
- Production package: Output brief, script, master version, storyboard, checklist, prompts, cost, and editing plan;
- Execution/sequel: Continue from the current accepted state;
- Full production: Execute the entire state machine from text to release.
Local issues cannot be forced to go through the entire process again.
Choose Content Form and Aspect Ratio
First select the main form of the current delivery, see format-routing.md for details:
- 15–45 second independent short clips: One hook, one upgrade, one reward;
- 45–120 second independent short films: 2–4 plot segments, completing an emotional or comedic arc;
- 1–4 minute anthology series: Fixed characters/world rules, each episode's problem is solved independently;
- 1–4 minute serial short dramas: In addition to the single-episode goal and reward, maintain the season-line state.
Supports
,
,
, and custom ratios. Record the release channel, aspect ratio, subject safe area, subtitle area, cover cropping area, and delivery encoding.
When both horizontal and vertical versions are needed, share the plot, characters, voices, props, and continuity master version, design composition, shot size, movement path, and safe area separately, and accept separately. Do not default to center cropping or mechanical edge filling.
Establish Production Brief
Use production-brief.md. Infer safe default values from conversations and materials, only ask for choices that will substantially change the result.
Record at least:
- Original text and adaptation boundaries;
- Channel, aspect ratio, duration, audience, language, and emotional commitment;
- Characters, animals, products, locations, reference materials, and usage rights;
- Independent/anthology/serial form and content configuration;
- Available models/execution entrances and approximate budget ceiling;
- Dialogue strategy: no dialogue, native, reference audio, external dubbing, or hybrid;
- Visual medium: live-action, realistic pets, animation, comic dramas, UGC, or hybrid.
Public examples must not expose keys, signed links, request IDs, private paths, real faces/voices, or private reference materials.
Write the Story First, Then the Prompt
Read story-and-pacing.md and directing-camera-and-pacing.md; for comedy, cute pet, anthropomorphic, or animated performance projects, also read comedy-and-animated-performance.md. Deliver:
- One-sentence audience commitment;
- 0–3 second visual hook;
- Motivation unique to the protagonist;
- Visible goal and obstacle;
- A change in information, action, reaction, relationship, or risk every 4–8 seconds;
- Relationship or state change;
- Foreshadowed reward/reversal;
- Final emotional beat, punchline, suspense, or character-specific action.
For 60–120 second comedies, first write
trigger event → protagonist's misunderstanding/desire → goal → active choice → escalating cost → main reversal → consequence/payoff
, then add local punchlines. Triggers should be experienced by the character in daily life, rather than standing at the opening listening to a full explanation; each punchline must change the main line state, and be accepted according to
foreshadowing → visible cause → audience information advantage → reaction pause → reveal → consequence
.
Define
, observable beats, and
for each plot segment. A 20–30 second long segment usually has 4–6 beats; a 10–12 second dialogue segment usually has 2–3 beats. Continuously add breathing, blinking, eye contact, expressions, species-appropriate reactions, prop interactions, and background life; do not let characters stand still after finishing a line.
When targeting high-density 60–120 second Douyin plots, enable the corresponding preset: clear conflict within 3 seconds, clear immediate goal within 10 seconds, start with 18–24 effective beats for 90 seconds, close a micro-task every 15–25 seconds; a continuous dubbing scene of about 30 seconds includes multiple rounds of advancing dialogue and 4–7 visible actions/reactions. A fixed macro goal runs through the entire film, and scene transitions must have a causal bridge. Effective beats do not equal cuts or generation requests; do not re-split into fragmented stitching.
Return for modification before generation if any of the following occurs:
- The plot does not change when the protagonist is removed;
- Motivation is only explained by lines;
- Reversal has no visible clues planted in advance;
- Characters repeatedly express the same meaning;
- Location, time, goal, or character knowledge changes suddenly;
- Cold audience cannot state the goal, obstacle, choice, and outcome.
Lock Content Configuration, Characters, Style, and World
Read content-profiles.md, select a main configuration, and overlay special rules if necessary.
Create a master version and character-bible.md for each permanent character/animal, recording identity, anatomy, face/body proportions, markings, clothing structure, allowed behaviors, prohibited variations, and voice. Use identity-voice-and-reference-locks.md to assign a unique authoritative reference for each control dimension, and establish an independent voice anchor for each permanent speaker.
Before storyboarding, inventory all repeated, cross-scene, plot-critical, or text/Logo-bearing props, and create
prop-bible.md for each. First use the user-selected and verified high-fidelity image generation/editing route (which may include GPT Image-like models) to fix neutral-light multi-angle geometry, scale, material, connectors, and state; precise text is separately assigned a
, which is tracked and synthesized in post-production by default. Each shot references the same
prop_id + state_id + text_plate_id
; do not let scales, seals, helmets, mobile phones, or packaging be redesigned across acts.
Live-action projects lock real photography, skin/hair, actual clothing materials, real scale, motivated lighting, and physically integrated special effects. Animation projects lock design grammar, lines, shadows, proportions, and movement language. Pets in live-action environments can choose natural realism, enhanced realism, or "animated actor hybrid": the environment and materials are realistic, while the character uses locked anthropomorphic poses, expression libraries, anticipation, overshoot, settle, and controlled squash/stretch; props and contact still follow real continuity. Do not use "animation exaggeration" as an excuse for mesh penetration, teleportation, or prop drift. Read style-and-medium-locks.md and comedy-and-animated-performance.md.
Use continuity-ledger.csv to maintain formal status, updating it for each accepted segment.
For long novels, serial dramas, or cross-episode IPs, also read series-memory-and-source-adaptation.md, using layered facts, character knowledge, timelines, and reveal states instead of repeatedly stuffing the full text into prompts or relying on dialogue memory.
For multi-character scheduling, real locations, chases, mirrors, giants, facilities, complex entrances/exits, or abnormal spaces, also read
spatial-blocking-and-world-state.md. First lock location anchors and connectivity, then write the character's
, camera position, line of sight, occlusion, scale, and reflection topology; prompts must not invent locations temporarily.
In high-risk or strongly continuous projects, read previsualization-and-coverage.md before video generation: first create long-term master versions of characters/locations/props, then shoot a small number of coverage options for key plot moments, and finally only freeze the first frame, last frame, or state frame that truly constrains the request. Simple reaction shots do not require a complete storyboard; multi-character, giant scale, mirror rules, real landmarks, precise movement, and key contact cannot skip previsualization.
When needing to generate character setting images, scene images, prop images, or storyboard images, also read
reference-graph-and-storyboard-images.md. Organize materials into a responsible dependency graph, first accept a composition master frame, then generate subsequent storyboards; each reference clearly defines
and
, and multi-pose collages must not be copied into additional characters.
Design Generation Segments and Editing Beats
Read generation-blocks-and-edit-beats.md and directing-camera-and-pacing.md. Use 15–30 second segments when the model stably supports them; use shorter segments for precise dialogue, complex contact, high movement, deformation, or drift-prone tasks.
Each long segment must have:
- 3–6 timed beats;
- One main action or information change per beat;
- 2–5 motivated internal cuts/perspective changes when needed;
- Stable time, location, and axis range;
prop_id/state_id/text_plate_id
- Start point, control input, world/screen vectors, phase sequence, and final state for precise physical events;
- , unique advancement of the main line by this segment, and event load budget;
- Punchline contract, line-of-sight/occlusion logic, reaction characters, and 0.6–1.0 second result pause for comedy segments;
- Single and visible consequences when hooks/collisions/reveals/climaxes are needed;
- 0.5–0.8 second editing margin with ongoing action at the end;
- Clear exit action that can be承接 by the next segment.
Each external seam:
- Use accepted last frames when supported, but also provide identity/material master versions;
- Maintain screen direction and action phase;
- Overlap actions by approximately 0.3–2 seconds if necessary;
- Transition using action, occlusion, whip pan, foreground pass, sound, line of sight, or shape matching;
- Do not change location, action, shot size, direction, clothing, and weather simultaneously without explanation.
See continuity-and-transitions.md for details.
Long segments are not "stuffing more things into one request". Prioritize one main prop system, one high-risk physical chain, and one main comedy/emotional reward per segment; if multiple locations, food types, precise handovers, multiple people speaking in turn, or multiple prop state changes are needed, split the segment or use internal setup/peak/consequence shots.
Formal prompts must be compiled from approved states, read
prompt-compiler.md. Use a stable skeleton of
scene context → reference responsibilities → space and initial state → shot → timed beats → performance/physics → lighting/sound → MUST-HIT/final state → high-loss negative constraints
, then crop according to T2V, first frame, first-last frame, R2V, continuation, editing, or multi-shot mode. Show a complete request preview before payment; any change to prompts, parameters, references, or schemas that affects the footage or cost invalidates the old confirmation.
Choose Models by Capability
Read model-router.md, verify the current entrance before submission.
- Wan 3-like long segments: Prioritize testing 20–30 second multi-beat segments, reference-driven multi-character native dialogue, reducing external seams, and 720p economy/balanced tasks; mix R2V and strict first-last frame selection, focus on checking character/voice binding and drift in the second half.
- Seedance 2.5-like: High-value dialogue, multi-image/video/audio references, reference voices, editing, continuation, and repair.
- Seedance 2.0: 4–15 second dialogue, action, and transitions.
- Seedance 2.0 Fast: Previsualization, coverage, alternatives, and economy tier; can only enter the final film after strict acceptance.
- MiniMax H3-like: Short-duration high movement, first-last frame control, and key audio-visual shots.
- Kling 3 Omni-like: Element binding, multi-shot internal orchestration, and first-last keyframe bridging; first accept sub-shot load and internal cuts.
- High-fidelity image models: Character/location/prop master versions, coverage options, and frozen keyframes; enter motion generation only after static images are accepted.
These are only starting assumptions, not permanent rankings. The actual capabilities exposed by the interface are higher than brand impressions.
Choose Quality and Paid Authorization
Read budget-and-quality.md, establish a cost plan before payment. Prices are always project configurations, not permanent facts.
- Sketch: Minimum usable previsualization;
- Economy: Usually 720p, long segment priority, targeted repair;
- Balanced: Use strong reference/audio models on segments that truly improve pass rate;
- Premium: Rich multimodal, reference audio, editing/continuation, and selective high resolution;
- Hero Insert: Concentrate budget on hooks, climaxes, complex contact, or emotional close-ups;
- Final Polish: Only upscale and repair accepted materials.
Authorization options include
,
,
, or
from
authorization-and-batch.md. Quality tiers do not represent paid licenses. Do repeatedly ask for confirmation item by item if the user has pre-authorized the platform, upload rules, budget, and retry limits; must stop when touching boundaries.
Read
production-operations-and-recovery.md during formal execution, use
generation-jobs.csv to save request fingerprints, idempotency keys, task status, dependencies, costs, recovery, and candidate lineage. Enter
state first for timeouts and retrieve the task; do not blindly resubmit by treating unknown status as failure; invalidate affected confirmations and downstream tasks after manually modifying upstream states.
Choose Dialogue and Audio Route
Read audio-and-dubbing.md, choose by scene instead of blindly unifying the entire film.
- No dialogue: Unified ambient background, music structure, and selected foley;
- Native dialogue: Short lines, clear speakers, actions while speaking, followed by reactions and next beats;
- Reference audio: One authorized voice anchor per permanent character, locking language, speaking rate, timbre, and intensity;
- External dubbing: Use lip-sync tools, or protect credibility through reactions, side shots, long shots, insert shots, and voiceover;
- Hybrid: Keep good native hero lines, unify narration, phone sounds, environment, music, and problematic audio in post-production.
All modes require separate tracks. Maintain room background noise/rain across shots in continuous scenes, use J/L cuts, lower BGM to avoid dialogue, and avoid restarting sound every time the footage cuts.
For multi-person native dialogue, record
, visible/off-screen sound source, lip-sync subject in the shot, non-speaker's mouth state, and turn order for each line. When staff explain rules, they must be visible opening their mouths, or clearly use sourced broadcast/voiceover; other characters keep their mouths closed and only make listening reactions. Wrong person speaking, voice cross-character, or non-speaker syncing lip movements is P0, cannot be explained by subtitles.
Gate-Based Generation Sequence
- Accept the story and plot segment plan;
- Accept character, style, world, and prop master versions;
- Generate the hook segment or highest-risk segment first;
- Download and directly check the real output;
- Create a 12-frame contact sheet for 30-second segments, at least watch the beginning, 25%, 50%, 75%, and end;
- Slow down to check contact peaks, mesh penetration, and physics;
- Transcribe and manually listen if there is audio;
- Mark , , or with evidence;
- Extract the accepted last frame, update continuity status;
- Only unlock dependent segments after that.
Parallelizable: independent master versions, music exploration, voices, non-dependent insert shots, and alternative hooks. Non-parallelizable: continuous plot segments that have not obtained the accepted parent state.
Physics and Anatomy Gate
Read
physics-and-failure-modes.md. List visible
before generation, use action primitives that conform to the subject's anatomy. Human hands, animal claws, machines, liquids, fabrics, vehicles, and magical effects use different contact rules.
Required sequence:
approach → contact → force application → response → stable result
.
"Reverse, turn, fall off, collide" must be compiled into
physical_start_state → control_input → world/screen motion vectors → phase_sequence → physical_end_state
. One generation segment only handles one high-risk precise physical event; complex events are split into setup, peak, and consequence shots. If the prompt intent is correct but the actual footage direction is wrong, it is still judged as failed.
Reject body/object penetration, extra or missing animals, impossible support, prop teleportation, mobile phone direction reversal, clothing structure change, unexplained reset, or invisible causality.
Quality Inspection, Repair, and Editing
Use qa-report.md and qa-and-repair.md, run separately:
- Plot: Cold audience can retell goal → obstacle → choice/action → result;
- Identity/style: Characters, animals, products, clothing, materials, and medium maintain the master version;
- Physics/continuity: Contact, direction, state, and seams are credible;
- Sound: Dialogue, voice, loudness, environment, BGM, and bridging are continuous.
Comedy/animated performance also requires silent acceptance: the audience can point out the normal state of the punchline, visible cause, information gap, reaction frame, reveal, and consequence to the main line; the character has at least three distinguishable performance states in a 15–30 second segment. If the plot can only be explained by lines like "where the thing went" or "why it's funny", it is judged as plot/performance failure.
Only repair the smallest failed unit: use editing for local defects, bridging/continuation for seam problems, regeneration only for identity/anatomy/causality collapse, and prioritize remixing for pure audio issues. Do not use music to cover plot failures.
Multiple candidates first pass the MUST-HIT binary gate, then compare plot, identity, space, physics, performance, sound, and editability using candidate-scorecard.csv; blind the model, seed, cost, and generation order as much as possible for key candidates. Reviewers are responsible for discovering and grading first, then creators/repairers decide the modification method, avoiding defending their own results in the same round.
Read editing-delivery-and-release.md when entering the final film stage, use edit-timeline.csv to only load accepted real usable intervals, unify working format and delivery configuration, retain subtitle/art text and audio tracks, and check for missing media, timeline gaps, black/frozen/repeated frames, loudness, subtitle safe area, and horizontal/vertical versions. Generation completion does not equal editing completion; upload success does not equal release approval.
Deliver by Task Scope
Do not impose a full production package on local requests. Only create files that will actually be read or verified in the next step:
- Diagnosis/suggestion: Problem evidence, priority, and minimal repair; do not generate blank CSV or production directories.
- Story/script: Production brief, plot contract, script/beats; only create corresponding master versions when identity, props, or season lines have definite continuity.
- Storyboard/production package: Add coverage options/frozen keyframes, generation segments, editing beats, reference authorities, model capability cards, costs, and audio routes.
- Execution: Add request preview and fingerprint, idempotency key, task/recovery record, candidate lineage, cost ledger, real output, QA evidence, accepted last frame, and continuity status.
- Final film/release: Add formal timeline with source chain, media standardization, mixing, subtitle/art text, cover, encoding, and cold audience report.
Reuse when existing materials or upstream states are sufficient, do not regenerate for "complete process". Unified naming:
,
,
,
,
.
Evidence Boundaries
Project documents must distinguish between:
- Documented capabilities: Verified from the current official parameter page or interface structure;
- Measured results: Observed under specific models, entrances, dates, and configurations;
- Creative preferences: Actively selected for the current story;
- Inferences: Possible but not directly verified.
Do not write dynamic prices, duration limits, or model quality as eternal facts.