# Directing Engine

The difference between a prompt that asks for "a cinematic look" and a prompt a director would sign is motivation. A director does not pick a camera move, a light, or a performance from a menu. They decide what the scene must do to the audience, then make every craft choice serve that one decision - in a consistent personal voice, across the whole film. This reference is the deeper reasoning layer above the mandatory lane and story record in the [Director's Read](directors-read.md) and the lookup tables in [seedance-camera](../skills/seedance-camera/SKILL.md), [seedance-lighting](../skills/seedance-lighting/SKILL.md), [seedance-motion](../skills/seedance-motion/SKILL.md), and [seedance-characters](../skills/seedance-characters/SKILL.md). Those skills answer "what phrase?"; this answers "why this, here, for this story."

Load the [Director's Read](directors-read.md) first on every route. Load this deeper engine when an idea is becoming a fully directed script or shot, scenes need different treatment from each other, the setup is unclear, or a long story must hold one directorial hand across many short clips. It expands the canonical read; it cannot replace, shorten, or bypass it.

## Why "cinematic" is not a decision

"Cinematic," "epic," "beautiful," and "this kind of camera" are wishes, not direction. They describe a feeling about the result instead of the cause that produces it. Real direction runs the other way: from the scene's dramatic job, to one intention, to a set of mutually reinforcing choices. The same set never fits two different scenes, because two scenes are doing two different things to the audience. A reveal is not lit, framed, blocked, or performed like a goodbye. The engine's whole purpose is to refuse the generic answer and derive the specific one.

## Step 1 - Expand the Canonical Director's Read

Before any technique, complete the exact ten-field narrative record in the [Director's Read](directors-read.md), or its two-line non-narrative record for observation/performance without a dramatic story turn or for utility. Do not fabricate conflict for joyful expression, sensory observation, direct demonstration, or ambient work. Genre-library entries below are authored example beats, not rules that every scene in that genre needs their narrative lane. The five lenses below deepen parts of the narrative record; they are not a shorter substitute for its hidden objective, obstacle/tactic, visible suppressed behavior, non-transferable detail, or stock-solution refusal.

For the non-narrative lane, skip the five dramatic lenses below and Step 3's dramatic setups. Start Step 2 from the concrete viewer experience in `utility_intent`. Use the non-narrative path in Step 4, then choose framing, light, sound, and continuity that make that experience legible. A held observation can be complete without a value flip, power shift, or hidden motive. Step 8's dramatic arc applies only when the project requests one; otherwise preserve the requested order and rhythm without inventing a climax or new state fields.

For the narrative lane only:

1. **Function.** What is this scene for in the larger story - introduce, deepen, turn, or pay off? A scene that earns its place changes something.
2. **The turn.** Name the single shift the scene exists to deliver as a value flip: safe to threatened, hope to despair, stranger to ally, control to helplessness, ordinary to wonder. If nothing flips, the scene is decoration and should be cut or merged.
3. **POV and empathy.** Whose experience are we inside? Where should the audience's body stand to feel it? Empathy is a physical position before it is a camera choice.
4. **Power.** Who has it, who wants it, and where does it move during the scene? Power is expressed by height, size, who looks and who is looked at, who occupies space and who is pushed to the edge.
5. **Subtext.** What is true but unsaid? The gap between what a character says and what they want is where direction lives; behavior in that gap is the performance.

The read is the script work. A vague narrative idea becomes directable when the full canonical record is answered, even with bounded defaults, and every abstraction is later translated into visible or audible carriers.

## Step 2 - The Coherence Principle

This is the engine's one law: **one intention, and every instrument plays the same note.** Translate the read into a single sentence of intention - "make the audience feel her certainty crack" - then set each instrument to express that same intention. When camera, lens, light, color, blocking, performance, sound, and cut all point at one feeling, the shot reads as authored. When each is individually competent but they point in different directions, the result is slop direction: expensive, polished, and meaningless.

| Instrument | What it carries | How it expresses intention |
|---|---|---|
| Shot size | Distance equals intimacy or judgment. | Closer for interior states; wider for context, isolation, or scale. |
| Angle and height | Power and sympathy. | Low looks up to (empowers); high looks down on (diminishes); eye-level equals equality. |
| Lens feel | Psychological space. | Long lens compresses and isolates; wide lens opens space and can distort/pressure. |
| Camera movement | The audience's impulse. | Push-in leans toward a realization; pull-back abandons or reveals context; a still frame holds a breath. |
| Lighting design | Emotional exposure. | Key direction, ratio, and color decide safety versus threat, warmth versus distance (see Step 5). |
| Blocking and staging | Relationship in space. | Proximity, levels, who enters/exits frame, who turns away. |
| Performance | The truth of the moment. | One legible physical action that plays the subtext (see Step 4). |
| Sound | What the ear feels. | Density, silence, one motivated cue; sound thins at intimacy, thickens at threat. |
| Cut and duration | Breath and pressure. | Hold to build weight; cut to release or accelerate. |

Coherence is not uniformity - a quiet camera can sit under a loud performance - but every choice must be answerable with "because the intention is X."

## Step 3 - Scene-Type Coverage

Different dramatic functions demand different complete setups. Use the scene's function to pull a starting setup, then bend it to the specific read and the project voice (Step 6). Each row is one coherent stack, not a grab bag.

| Scene function | Director's question | Coherent setup | Performance | Slop to refuse |
|---|---|---|---|---|
| Intimate dialogue | Whose interior are we in? | Medium close-up to close-up, eye-level, longer lens, minimal motion, soft motivated key, sparse sound. | Micro-behavior: a held look, a swallowed line, hands betraying calm. | Roaming camera and big coverage that break intimacy. |
| Confrontation / power | Who holds power, where does it shift? | Opposed angles, height encodes status, lens isolates each, light splits warm/cool, blocking closes distance. | Stillness as dominance; small loss of composure as the turn. | Symmetrical neutrality that erases the power gap. |
| Reveal / discovery | What does the audience learn, and when? | Withhold then disclose - frame conceals, then a move or light change uncovers; the camera discovers with the subject. | The reaction is the shot; play the recognition, not the object. | Showing everything at once with no withholding. |
| Decision / turning point | What does the choice cost? | Push-in to isolate the chooser; world quiets; one gesture commits the choice; light may shift on the commit. | One decisive physical action with a clear before and after. | A line of dialogue doing the work the body should do. |
| Arrival / establishing | What is this world and the subject's place in it? | Wide or medium-wide, motivated environmental light, a move that places the subject in space, ambient sound. | Posture and pace that read status and intent at distance. | A pretty empty vista with no subject relationship. |
| Pursuit / action | What is at stake in the motion? | Tracking or handheld energy, screen-direction discipline, contrast light, sound thickens; one clear physical objective. | Effort and consequence visible - weight, recovery, near-miss. | Stacked moves and many micro-actions that read as chaos. |
| Transformation / effect | What changes, and what proves it? | Locked or controlled camera so the change is legible; light tracks the change; one cause, visible consequences. | Subject responds to the change rather than narrating it. | Spectacle with no anchor or aftermath. |
| Comedic beat | Where is the timing? | Locked frame, clean geography, deadpan hold, one absurd visible action, a single dry sound. | Commitment and restraint; let the frame hold past comfort. | Busy camera that steps on the joke's timing. |
| Emotional low | How alone are they? | Distance and stillness, cool soft light, negative space, near-silence; the camera observes, does not push. | Containment - the smallest true gesture, withheld release. | Score-driven sentiment and an intrusive moving camera. |
| Product hero | What makes it desirable and true? | Controlled move from context to detail, motivated hero light on material, locked identity, clean sound. | If a person is present, one honest use action. | "Dynamic product camera" with drifting label and shape. |

## Step 4 - Directing the Performance

Seedance renders observable behavior, not internal states. "She is sad," "he feels betrayed," and "tense atmosphere" are not directable - they have no pixels. The director's job is to convert the read into what a body visibly does.

For observation/performance in the non-narrative lane, specify the physical phrase, tempo, range of motion, spatial relationship, and visible or audible endpoint that serve the brief. Preserve broad expression or energetic choreography when requested; do not force a micro-gesture, obstacle, tactic, or contradiction. For utility, specify the readable task or material change. The acting instructions below apply to the narrative lane only.

1. **Emotion becomes behavior.** Replace the feeling with the one true gesture that proves it: not "grief" but "she folds the letter, presses it flat with both hands, and does not look up." The camera can shoot the gesture; it cannot shoot the noun.
2. **Play an action, not a mood.** Give the performer an objective, an obstacle, and a tactic, then name the action verb: wants to be believed, is not believed, so she steadies her voice and meets his eyes. One playable action per beat.
3. **Subtext through contradiction.** The strongest beats show the gap between word and want: agreeing while stepping back, smiling while gripping the cup. Direct the body to tell the truth the line hides.
4. **One gesture per short clip.** In a few seconds, a single specific, legible action carries more than a list of feelings. Choose the gesture that contains the turn.
5. **Register matches the scene and the voice.** Restrained realism, heightened theatricality, or stylized deadpan - pick one register for the scene and keep it consistent with the project voice (Step 6). Mixing registers reads as a mistake.
6. **Ensemble discipline.** When more than one figure is on screen, give exactly one the focused beat and everyone else persistent micro-motion; route through [seedance-characters](../skills/seedance-characters/SKILL.md) for the three-tier action hierarchy so faces and hands stay stable.

## Step 5 - Lighting and Color as Emotion

Light is not brightness; it is meaning. Extend the source choices in [seedance-lighting](../skills/seedance-lighting/SKILL.md) with the dramatic levers a director actually pulls.

- **Ratio (key to fill).** Low ratio / high-key reads safe, open, honest, commercial. High ratio / low-key reads private, threatened, concealed, dramatic. Choose ratio from the scene's emotional exposure, not from a look word.
- **Key direction and height.** Frontal flatters and protects; side reveals texture and conflict; back/rim isolates and makes mysterious; under-light unsettles; top-light judges or sanctifies. Direction is characterization.
- **Color temperature.** Warm reads intimacy, memory, safety; cool reads distance, night, clinical control; mixed warm/cool inside one frame stages an internal or relational split.
- **Motivation.** Every source should have a believable origin in the world - a window, a lamp, a screen, the sun. Motivated light grounds the emotion; unmotivated "beauty light" reads as slop.
- **Light that moves with the turn.** When the scene flips, let the light flip with it: a cloud passes, a lamp is switched, a door opens a beam. The change in light is the change in feeling made visible.
- **Color discipline as voice.** A limited, intentional palette across a project is part of the directorial signature (Step 6); random per-clip color reads as inconsistency.

## Step 6 - The Director's Voice

Every real director has a recognizable hand: a way they tend to place the camera, light a face, cut, and pull performance. A film feels authored because one set of instincts is applied consistently and bent only to mark turns. With limited generator options, coherence beats variety - the "correct" choice is the one that keeps the whole story sounding like one voice. Do not imitate a named living director or studio; choose a functional voice and apply its defaults.

| Voice | Camera | Light | Color | Cut / rhythm | Performance | Best for |
|---|---|---|---|---|---|---|
| Observational naturalist | Invisible, motivated, mostly still or subtle handheld | Available / motivated, soft | Muted, true | Long holds, late cuts | Restrained, lived-in | Grounded drama, real-moment, documentary feel |
| Composed classicist | Deliberate, balanced, measured moves | Motivated but sculpted, clean | Controlled, harmonious | Patient, on the beat | Contained, precise | Prestige, premium ad, period |
| Kinetic visceral | Handheld energy, tracking, close | Hard, high contrast | Punchy, desaturated grit | Fast, percussive | Heightened effort | Action, sport, hype |
| Expressive stylist | Designed moves, bold framing | Dramatic, motivated-but-pushed | Saturated, signature palette | Musical, rhythmic | Stylized, gestural | Music video, fashion, fantasy |
| Intimate minimalist | Close lenses, small moves | Single soft source | Warm or restrained | Slow, few cuts | Micro, withheld | Personal, emotional, lonely |
| Graphic formalist | Locked or precise, geometric | Hard, shaped | Limited, deliberate | Exact, deadpan | Stylized or deadpan | Design-forward brand, deadpan comedy |

Derive the voice from the brief: genre plus the dominant feeling plus any reference look the user loves plus the audience and surface. Set it once, store it in the project state, and let every scene's setup (Step 3) be biased by it. Deviating from the voice should be a deliberate signal that a major turn has arrived - contrast is meaning only when the rule it breaks is established.

## Step 7 - The Coherence Test

Before finalizing any shot, run six checks. Fix or cut anything that fails.

1. **State the intention in one sentence.** If you cannot, the read (Step 1) is incomplete.
2. **Point check.** Does each instrument (Step 2) express that intention? Any instrument that contradicts it is removed or re-aimed.
3. **Behavior check.** Is the performance a visible action, not an emotion word (Step 4)?
4. **Motivation check.** Does the light have a believable source, and does the camera move have a reason tied to the action (Step 5)?
5. **Voice check.** Does the setup match the project voice (Step 6), or is the deviation a deliberate turn?
6. **Fragility check.** Will the chosen complexity hold faces, hands, logos, and text? If not, simplify the motion and let light or environment carry the change.

## Step 8 - The Long-Form Directorial Spine

A Seedance clip is short - a handful of seconds - so a real story needs many connected clips. Direction therefore lives at two scales: the shot, and the arc across shots. The engine shapes the arc so the whole piece feels directed, not assembled.

- **One voice, every clip.** The project voice (Step 6) and the continuity locks are inherited by every clip through [seedance-sequence](../skills/seedance-sequence/SKILL.md) and [seedance-continuation](../skills/seedance-continuation/SKILL.md). A new clip never re-rolls the look.
- **Plan the progression.** Map how the instruments evolve from open to climax to release. As tension rises, shot scale generally tightens, camera and cut grow more active or pointedly stiller, light contrast deepens, color and sound thicken. The resolution loosens them again.
- **Mark the turn with contrast.** Choose the one clip that breaks the established pattern - the widest frame in a tight film, the only still shot in a kinetic one, the single warm light in a cold story. The break is where the audience feels the meaning.
- **Each beat keeps its own read.** Every clip still gets its own Step 1-7 pass; the spine biases those passes, it does not replace them.
- **Global plan, local compile.** The arc is planned up front, but each clip is still compiled only from accepted footage and the current clip contract - the spine never licenses inventing a future beat. Honor the sequence law in [seedance-sequence](../skills/seedance-sequence/SKILL.md) and the source gate in [seedance-continuation](../skills/seedance-continuation/SKILL.md).

A practical spine record per clip: `voice`, `arc_position` (open / rising / turn / climax / release), `intended_intention`, `scale_trend`, `movement_trend`, `light_trend`, `sound_trend`, and `is_pattern_break`.

## Step 9 - Decision Procedure

The skills run this function whenever a scene becomes a shot.

1. Complete the [Director's Read](directors-read.md): classify the lane, then write the full narrative record or the non-narrative refusal. For narrative work, use the function, turn, POV, power, objective, obstacle/tactic, contradiction, visible suppressed behavior, non-transferable detail, and stock refusal in the steps below.
2. Set or inherit the project voice (Step 6); store it.
3. Derive the unified setup: let scene-type (Step 3) and the one-sentence intention choose the instruments, biased by the voice.
4. Use the lane-specific performance path in Step 4: narrative acting or the requested observational/utility action and rhythm.
5. Run the coherence test (Step 7).
6. For a requested dramatic arc, place the clip in the long-form spine (Step 8). For non-narrative work, preserve the planned order, rhythm, and continuity without adding a dramatic pattern break.
7. Hand the motivated setup to the Director Formula in [seedance-prompt](../skills/seedance-prompt/SKILL.md), the prompt compiler in [prompt-compiler](prompt-compiler.md), or the plan in [seedance-sequence](../skills/seedance-sequence/SKILL.md).

## Worked Example - A Single Scene

Idea: "a couple breaks up at the kitchen table."

- **Read.** Function: turn the relationship. Turn: together to apart. POV: the one being left. Power: shifts from her (deciding) to him (absorbing). Hidden objective: keep her at the table without asking her to stay. Obstacle/tactic: she has already decided; he keeps talking about the dishes. Subtext: the practical talk hides the plea. Visible suppressed behavior: he wipes the same spot twice. Non-transferable detail: the chipped plate from their first flat. Stock refusal: no tearful close-up or swelling breakup score.
- **Intention:** make the audience feel the moment he realizes it is already over.
- **Voice:** intimate minimalist.
- **Setup:** medium close-up on him at eye-level, 50mm-feel compression, a very slow push-in that finishes as the realization lands; soft warm practical from a window behind her so she is slightly haloed and he is in plainer light; cool evening outside; near-silence, a tap dripping, one chair scrape.
- **Performance:** he wipes the same spot on a plate twice, sets it down, and stops - hands still, eyes on the plate, not on her. One true gesture: the second wipe that goes nowhere.
- **Coherence test:** every instrument says "realization arriving" - push-in, quiet, the halo that puts her already elsewhere, the stalled hands. Behavior, not "sad." Motivated window light. Matches voice. Hands simple, camera locked enough to hold the face.
- **Final prompt sentence:** `Medium close-up on Character A at a kitchen table, eye-level, gentle compression; he wipes the chipped rim of the plate from their first flat twice, pauses mid-motion, sets that chipped plate down, and goes still with his eyes on it; very slow push-in over the clip; soft warm window light behind Character B haloes her while his side stays plain; cool dusk outside; near-silence with a dripping tap and one chair scrape; preserve faces and hands, keep motion small.`

## Worked Example - A Three-Clip Spine

Idea: "a kid finally rides a bike on her own."

- **Voice:** observational naturalist. **Locks:** child identity and wardrobe, the street, late-afternoon light, screen direction left to right.
- **Clip 1 (open):** medium-wide, still, motivated low sun, ambient street; she pushes off and wobbles, parent's hands hovering. Intention: fragile hope. Trends: wide, still, soft, quiet.
- **Clip 2 (rising):** tracking alongside at her height, subtle handheld, sun flaring through spokes, sound tightens to breath and tire hum; the parent's hands leave the frame. Intention: she is doing it and does not yet know. Trends: tighter, moving, warmer, denser.
- **Clip 3 (turn / climax, the pattern break):** the only locked, held shot - a still medium as she rides away from camera into the warm light, then the smallest glance back; ambient swells once. Intention: she knows. The break from the moving camera to a held frame is the meaning. Compile from Clip 2's accepted final frame and observed state; do not assume she already looked back until the footage shows the ride.

## Worked Examples by Genre

A 33-entry genre library - product, music video, horror, anime, action, comedy, documentary, high fashion, sci-fi, and more - lives in [`directing-engine-genre-library.md`](directing-engine-genre-library.md). Load it on demand when you want a fully worked example in a specific genre; each runs this same read -> intention -> voice -> setup -> performance -> compiled-prompt procedure. The two worked examples above already demonstrate the method end to end.

## Anti-Slop for Direction

Refuse: technique chosen to impress rather than to mean; "cinematic / epic / beautiful" as a goal; mixing directorial voices inside one project; performance written as an emotion word; a moving camera with no motivated reason; light with no source; instruments that individually look good but point in different directions. The fix is always the same - return to the one-sentence intention and make every choice serve it in the project's single voice.

## Stakes and Peak

The engine's defaults favour containment, and containment is right for most scenes. It is wrong for the scene whose job is to stop a thumb: a short-drama hook, an action beat, a gallery clip. Those scenes add four requirements to the read, and each is a physical cause the model can render:

- **Stakes in frame.** Something the character can lose is visible before the turn: the door still open, the glass still on the table, the train still at the platform.
- **A force against the character.** A person, a mechanism, weather, a clock. It acts first; the character answers.
- **Escalation inside the clip.** Three states at most, each larger or worse than the last, named in order.
- **One visual peak.** A single image the clip is built to reach, written as its physical cause: a cup set upside down on a wet cloth, a chain sliding back, an inverted impact frame. The clip ends within a beat of the peak.
- **The premise legible by shot two.** Who these people are to each other and what is at stake is spoken or shown, never implied: a line ("We're by appointment only, ma'am"), an unmistakable situation (a birthday banquet and a door opening on someone nobody invited), a prop that needs no caption. A stranger scrolling past must know the relationship before the turn. The Director's Read is internal; if its meaning never reaches the frame, the clip is a subject doing a thing.
- **Direct literally, keep the frame alive, and lock every shot.** A reaction is a plain feeling plus one physical anchor, never an idiom and never a bare muscle list; one action per shot while everyone else keeps their idle business rather than freezing; a lock line at the end of every block repeating the light, each principal, where they stand, which way they face and which side the camera is on; reactions as reverses and crossings on screen; prop actions written as a hand; an ending the frame can contain; every line given a voice and eyes. The full check is in [direct-for-the-model](direct-for-the-model.md).
- **Cut like coverage.** Four or five shots: the situation, the line that states it, the action, a reaction, the hold on whoever lost. The reaction shot is where the audience is told how to feel, and it costs the model almost nothing (a half beat in [multishot-grammar](multishot-grammar.md)). Two speakers are fine when each speaks alone in their own shot, with short lines.

Spend the spectacle where the model is strong: weather, light, cloth, dust, water, crowds and fire at a distance, drawn effects in 2D. Keep contact singular and simple. Never write an accident as the peak; the model stages accidents as intentions. Run the [moderation pre-screen](moderation-prescreen.md) last, because the words that usually carry stakes (weapons, wounds, crimes) are the words classifiers refuse; the craft there keeps the stakes and drops the word.