Build a cinematic AI trailer with Seedance 2.0 in Venice Studio

The Venice Studio workspace and why Seedance 2.0 matters

Open the Studio from the sidebar. Inside you get separate workspaces for generating images, editing images, generating audio, generating video (with an optional render queue), and a timeline editor for cutting clips into a movie with titles, transitions, subtitles, and text. Everything you create lands in a media library stored in your browser through Venice.

The headline model here is Seedance 2.0, one of the most capable video generators available. Venice exposes it three ways: text to video (T2V) for a prompt-only generation with no visual control, start/end frame mode where you supply the first and/or last frame, and reference to video (R2V), where you attach tagged reference images the model uses throughout the shot. R2V is the workflow this guide leans on, because it lets you decide what your character and scenes look like before spending credits on video.

Plan the project with an AI treatment

Before generating anything, write a treatment. Head to Venice chat, pick a strong text model (the video uses GLM 5.1), and ask it to design the project and the prompts you'll need.

Help me create a video treatment for a 30 second cinematic sci-fi trailer
with multiple shots and one protagonist character. I need:
1. A full description of our character to use as a reference image prompt
2. Image generation prompts for the scene backdrops
3. Video generation prompts that reference the character and the scenes
First, let's discuss the story.

The model returns a story concept, a shot list, and an audio beat sheet. This step is optional, but it's the fastest way to get highly detailed, consistent prompts and to understand what you're actually building. Once the treatment looks good, have the model output the character reference prompts, the backdrop prompts, and the per-shot video prompts.

Generate character and backdrop reference images

A character reference image is what keeps your protagonist looking the same as they move around the frame. Take the character prompt into the Image tab and generate it. You can run multiple models at once (the video compares Nano Banana 2 and ZImage Turbo) and pick the result you like, then save it.

To give the video model every angle, send your chosen image to the Edit tab and edit it into additional views. Generate at least three:

Change the angle to be a rear portrait.
Change to a 90 degree side profile angle.

Now create your backdrops in a new session. Paste each scene prompt, stick to one model for consistency, and set a 16:9 aspect ratio (1K resolution is enough). Keep backdrops clean: if a generated scene includes a person or object you'll later reference separately, edit it out so the model isn't confused.

Remove the person from the clip.

Generate shots with R2V and keep the queue moving

Go to the Video tab and filter for Seedance to isolate the Seedance models (Venice offers dozens of other video models too). Choose reference to video, and use the "fast" variant to save credits while testing.

Paste a shot prompt, then attach your reference images and tag them inline by number so the model knows which image is which. Tagging is the whole trick:

A lone scavenger, image 1, in a bulky frost-covered survival suit and amber
visor trudges slowly towards the camera through a fierce blizzard on a frozen
planet, image 2. Wide cinematic shot, swirling snow, camera moving backwards
slowly, 24fps cinematic motion. Audio: sound effects, no music.

Add "no music" to every prompt so you can score the whole trailer later. Set the duration a little long (it's easy to trim, frustrating to fall short), and send it. The render goes into the queue on the side, and you can keep building the next shot while it processes. Turn on browser notifications if you want to be pinged as each one finishes. Every generation also drops into your library for easy reuse.

Iterate, fix glitches, and pick your takes

AI video isn't perfect on the first try. When a shot glitches, faces the wrong way, or ignores a reference, use "reload original draft" to bring all the settings back, adjust, and regenerate. Common fixes shown in the video: dropping a reference image when two are confusing the model, switching a tag from "element" to a single image, lengthening the clip so the model has more time to tell the story, and swapping models (the video compares a Kling result against Seedance and re-runs the one that looks worse).

After a round of regenerations, cull your library. Delete the takes that face the wrong direction or don't make sense, and keep a couple of optional backups. Filtering down to the keepers before you edit makes the timeline work much faster.

Assemble the cut on the timeline

Click a clip to send it down to the timeline, a non-linear editor where you arrange clips out of order, drag them around, and stack them on layers. Whatever sits on the top layer is what plays.

Trim a clip by dragging its in and out points. Because shots were generated separately, their audio won't line up, so select a clip and use "detach audio" to handle picture and sound independently. Overlap two clips and add fade in/fade out to smooth the seam. Letting a clip's audio start before its picture creates an L-cut, where you hear the next shot (like a footstep) just before you see it. Use crossfade transitions between clips when a hard cut feels abrupt. Aim for a length the trailer can sustain; the example lands around 35 seconds.

Score it with AI music and add sound effects

Go back to chat and ask for a music prompt matched to your edit's structure, for example a 15 second intro, a 14 second buildup, and a final crescendo. Paste that into the Audio tab, force instrumental, pick a style (orchestra here), and set the duration slightly longer than your video so the final hit has room to land and trail off. If the crescendo arrives too early, regenerate with a longer duration and call out the exact timestamp:

At 36 seconds, the massive wall of sound hits.

Drop the chosen track onto the timeline and stretch or nudge it to line up. If a generation hit the climax a few seconds off, you can split the music clip, move the back half onto another layer, and crossfade the two halves to fix the timing in the edit. For one-off hits, generate short sound effects (the video uses 11 Labs) and iterate on the wording until it's distinct:

Sudden ethereal whoosh flash as portal opens.

Place the effect under the moment it covers, and pair it with a short visual transition to disguise any remaining roughness in the shot.

Title, export, and share

Add a title clip at the end and choose a font for the movie's name. Trim the timeline to your final length, then click export. You can keep 16:9 for YouTube, switch to a vertical shorts format, or set a custom resolution.

Export produces a final MP4 you can download and use anywhere, and you can also publish directly to the Venice social feed. The throughline of the whole workflow: you control the character, the scenes, the score, and the cut, generated privately and anonymously through Venice, and you can share what you make in the Venice Discord.

Key takeaways

• Plan first: an AI treatment turns a vague idea into a shot list plus the exact image, scene, and video prompts you'll reuse.
• Reference images plus inline tagging (image 1, image 2) in R2V mode are what keep a character and setting consistent across shots; generate multiple angles for movement.
• The render queue lets you build every shot without waiting, and the library keeps all takes ready for editing.
• Expect to iterate. Reload drafts, retag, lengthen, or switch models, then fix the rest with timeline trims, crossfades, timestamp-matched music, and short sound effects before exporting an MP4.