Abdelwahed - ROADRASH

A complete breakdown of the Road Rash project—taking you through the entire creative journey, from the initial concept and visual development to the final execution.

PLEASE FEEL FREE TO CONTACT ME DIRECTLY IF ANY PART WAS NOT CLEAR ENOUGH OR IF U HAD ANY QUESTIONS !!

1- IDEA

To create a nostalgic video inspired by the retro game Road Rash, bringing back the excitement of the original and reconnecting audiences with their memories of playing it.

2- ART BOARD

The artboard draws inspiration from the game’s distinctive visual style and iconic promotional posters.

3- KEY ELEMENTS

The key elements were inspired by the gameplay.

>>>Each prompt is under each attached photo <<<

inspired from the attached art direction of roadrash game , color style create a full length image of a motor bike with a motor bike driver wearing a helmet with drawings on it he is standing beside the bike the helmet is closed he is wearing yellow with magenta , a purple racing motor bike as in the last image the image should look creative , fummy , artistic , solid background digital painting no text

inspired from the attached art direction of roadrash game , color style create a street image inside a city with 2 lanes road the street is in the middle of the city neon lights , sky with soft clouds digital painting no text

inspired from the attached art direction of roadrash game , color style create a full length image of a motor bike police man with a motor bike beside him , he is wearing police helmet the police motor bike is modern standing beside his police bike with police red and blue lights on the police is wearing a black police jacket with a padge , a white helmet , holding a black police stick the image should look creative , funny , artistic , solid background digital painting no text

inspired from the attached art direction of roadrash game , color style create a full length image of a motor bike police man with a motor bike beside him , he is wearing police helmet the police motor bike is modern standing beside his police bike with police red and blue lights on the image should look creative , funny , artistic , solid background digital painting no text

inspired from the attached art direction of roadrash game , color style create a full length image of a motor bike with a motor bike driver wearing a helmet he is driving the motor boke the helmet is closed the image should look creative , fummy , artistic , solid background digital painting no text

inspired from the attached art direction of roadrash game , color style create a full length image of a motor bike with a motor bike driver wearing a helmet green leather jacket he is driving the motor bike the helmet is closed the image should look creative , fummy , artistic , solid background digital painting no text

inspired from the attached art direction of roadrash game , color style create a full length image of a motor bike with a motor bike driver wearing a helmet he is driving the motor boke the helmet is closed the image should look creative , fummy , artistic , solid background digital painting no text

inspired from the attached art direction of roadrash game , color style create a full length CAR , small size car , new color the image should look artistic , solid background digital painting no text

inspired from the attached art direction of roadrash game , color style create a full length CAR the image should look creative , artistic , solid background digital painting no text

4- 3D Motion Reference

First >> you have to have a claude subscription and connect it to Blender MCP
OR
Use Higgsfield or any other tool to control ur 3D Software

the GOAL here is to have the 3D reference video BEFORE creating our HQ video to save out time , credits and money

I use this video to connect Claude with Blender

BLENDER IS A FREE 3D Software

2nd > CREATE the 3D Visual
the 3D video was made on two parts

this is the description i gave to claude >> claude did it on blender >>

after each step , i had to tell claude some edits like making motion smoother , dolly in with the fally man ... etc

Video 1 — The Crash

Make me a 3D scene on a straight desert highway, seen from a camera sitting low on the road surface, looking straight down the road. Everything should look simple and clean — plain shapes, no fancy detail.

Four motorbikes with riders come past me one after another, from behind the camera, going away into the distance. They're going fast. They don't slow down, they just disappear up the road.

Then a fifth bike comes through — but this one has already crashed. It's lying on its side, sliding along the tarmac, and the rider is separate from it, rolling along the ground like a sleeping man turning over. They both slide past the camera and come to a stop a bit further up, side by side — the bike on the left, the man on the right, with the bike slightly ahead of him.

The camera stays completely still while the four bikes pass. Then, the moment the crashed pair goes by, it starts moving forward after them — speeding up, chasing them, then gently slowing down as it gets close and stopping a few metres behind the man. It never goes backwards.

Now the man gets up. He puts his hands on the road and pushes himself up, stands up with his back to us, and holds his head for a second — both hands on his helmet, like he's dizzy and checking himself.

Then he walks over to his bike, bends down, grabs it, lifts it back upright, gets on, and sits there like the other riders were sitting.

About 15–20 seconds long.

Video 2 — The Chase

Make me a 3D scene like an old motorbike racing game. Simple clean shapes, no fancy detail.

A road that curves left and right, with two lanes of traffic — cars going the same way as us on one side, cars coming towards us on the other. The cars are much bigger than the bikes. The riders weave around them while they race.

We start behind a rider on a red bike, looking over his shoulder. Ahead of him, far up the road, are other riders. He speeds up and starts closing on them.

As he catches the first one — a blue bike — the camera swoops down to the ground, passes underneath between the wheels, and comes up on the other side, turning as it goes. In slow motion we see the blue rider kick him with his leg. Twice. Then the camera rises and, still in slow motion, our rider punches the blue rider in the face. It should be a close-up: we push in as he raises his hand, so at the moment of impact all we see is the fist and the face. His fist should stop against the helmet, not go through it.

The punch knocks the blue rider off. The camera pulls back so we can watch him and his bike go over behind us, and then — without ever stopping — swings all the way around until we're behind our rider's head, and finally becomes his own point of view: we see his hands on the handlebars and the road ahead.

He speeds up. He glances quickly to his left and catches sight of another bike — a police bike, right beside him, filling the middle of the frame. He snaps back to the road. It registers. He looks again — and this time the policeman's baton is already coming down onto his face. Slow motion.

He goes down, and the camera goes down with him as the bike slides along the road.

About 45 seconds long, with the speed slowing right down for every hit.

RENDER !

5- Ai VIDEO

I used Chatgpt to create my Final prompts for Seedance 2.5

But first , i had to as chatgpt to study all Seedance 2.5 details to make it able to transform my describtion into a prompt ready for Seedance 2.5

then i gave him all the visual assets Photos and the rendered Video
+
telling him all the motion Details i want

@video1 is the video reference for the camera motion and the objects motion @image1 is the main driver @image2 is the main driver bike @image3 is the other biker 1 @image4 is the other biker 2 @image5 is the other biker 3 @image6 is the other biker 4 imager 7 is the location reference of the street and night , with 2 car lanes , shops on both sides with neon lights , street lamps with lights shaking ON and OFF using the same camera motion in the same attached video the video starts with the camera centered in the center of the frame street 4 racing bikes of the 4 racers pass from the back of the camera from left and right as they are racing, once any of them pass beside the camera the camera shakes as an effect of the wind of them then the main biker and his bike come from behind the camera falling infront of the camera , the camera is pushing forward as in the reference video tracking the motor bike scrapes creating sparks and the driver who is rolling on his side on the ground as a result of the fall , once the both stop moving , the biker puts his hand on the ground helping him self to stand up , then he checks his head and his helmet , then he moves to the left towards his bike which is on the ground to adjust it grapping it to put it back on the road track , and he sit above his back getting ready to start back race

Video 1 prompt

Create a 20-second continuous single-take motorcycle sequence at natural real-world speed. Use the polished, painterly action-game aesthetic of the image references with deliberately stepped, low-frame-rate stop-motion animation.

[REFERENCE ROLES]

<<<video_1>>> controls only the camera path, low centered viewpoint, forward tracking movement, separate sliding paths of the fallen rider and motorcycle, and the recovery choreography. Do not copy its grey environment, proxy characters, proxy motorcycles or unfinished visual style.

<<<image_1>>> defines the exact main biker: the same yellow-and-magenta racing suit, yellow full-face helmet, dark visor, boots, protective pads, proportions and existing scratches. The three views represent one biker only. Do not use the blue studio background.

<<<image_2>>> defines one single main motorcycle: the exact purple sport bike, fairings, headlights, windshield, wheels, exhausts, materials, proportions and existing scratches. All displayed views represent the same motorcycle. Do not generate multiple purple motorcycles or copy the reference background.

<<<image_3>>> defines Racer 1 and his motorcycle.

<<<image_4>>> defines Racer 2 and his motorcycle.

<<<image_5>>> defines Racer 3 and his motorcycle.

<<<image_6>>> defines one police officer in motorcycle police uniform. The police officer must ride the police motorcycle from <<<image_8>>>,

<<<image_8>>> defines one single police motorcycle. Preserve its exact body design, police equipment, colors and red-and-blue emergency lights. The red and blue police lights flash alternately on and off while it moves.

<<<image_7>>> defines the night location: a long urban street with exactly two vehicle lanes, shops on both sides, neon storefronts, illuminated windows and street lamps. Preserve the deep blue, violet, pink and warm-orange palette. Do not add extra lanes.

[STOP-MOTION CADENCE]

The entire video has deliberately stepped, handcrafted stop-motion movement. The final file may be encoded at a normal frame rate, but the visible animation should feel photographed frame by frame at approximately 8–12 unique motion poses per second.

Motorcycles, characters, sparks, fabric, environmental elements, lighting changes and the camera move through clear incremental positions with tiny frame holds between them. The action remains physically understandable and energetic, but never becomes fluid high-frame-rate movement.

Use crisp pose-to-pose animation, tactile stop-motion timing, slightly uneven handcrafted spacing and restrained motion blur. Camera shakes occur as two or three strong stepped jolts rather than smooth vibration.

Do not create random playback freezes, technical stuttering, frame corruption, heavy ghosting or optical-flow smoothing.

[ALIVE STREET]

Make the street active and alive without obstructing the motorcycle action.

Numerous neon signs pulse, buzz and flicker asynchronously. Several signs rapidly switch off and back on. Others alternate between pink, blue, violet and orange light. The street lamps also flicker independently, repeatedly changing the pools of light and shadow across the asphalt.

The police motorcycle’s alternating red-and-blue lights cast stepped colored flashes across the shops, road and nearby motorcycles as it passes.

Neon reflections shimmer across the street. Hanging signs, small electrical cables and shop awnings tremble from the wind created by the motorcycles. Thin steam drifts from a sidewalk vent. Loose paper and lightweight wrappers move along the road edges.

One small stray cat walks along the right sidewalk during the opening. It pauses when it hears the engines, then safely runs into a recessed shop doorway when the motorcycles pass. It never enters the street and does not cause the crash.

The two road lanes remain completely clear except for the motorcycles.

[CAMERA]

One uninterrupted shot with no cuts.

The camera begins very low over the exact center dividing line, looking straight down the street. Closely match the camera path, framing and forward tracking behavior of <<<video_1>>> while expressing the movement through the defined stop-motion cadence.

Every motorcycle that passes close beside the camera creates one brief wind-pressure shake. Each shake happens in two or three forceful stepped jolts before the camera recenters.

The camera always remains behind the main biker. It never moves in front of him and never reveals the front of his helmet after he stands.

Once the main biker and motorcycle enter while falling, the camera pushes forward behind them, tracking their separate ground movement. During the recovery, it subtly recenters the rider and motorcycle without orbiting around them.

[SEQUENCE]

0–3 seconds: The empty street is visually alive with aggressively flickering neon signs, irregular street lamps, moving reflections, drifting steam and loose paper. The stray cat walks along the right sidewalk.

Racer 1 from <<<image_3>>>, Racer 2 from <<<image_4>>> and Racer 3 from <<<image_5>>> enter from directly behind the camera and pass extremely close on alternating sides. Each pass creates a separate wind blast and stepped camera shake.

The police officer from <<<image_6>>> follows them while riding the single police motorcycle from <<<image_8>>>. The police motorcycle passes close beside the camera with its red-and-blue emergency lights flashing alternately on and off. The colored flashes move across the shops and asphalt.

The three racers and the police officer continue rapidly away down the street. The police officer is pursuing the racers. All four motorcycles become smaller in the distance and never return.

3–7 seconds: The main biker’s accident happens entirely offscreen behind the camera. We never see him riding normally, losing control or beginning the fall.

An offscreen skid and impact are heard behind the camera. Immediately afterward, the purple motorcycle from <<<image_2>>> enters through the bottom-left edge of the frame already lying on its side and already scraping forward across the asphalt.

At the same moment, the main biker from <<<image_1>>> enters from behind the camera through the bottom-right edge already falling and rolling on his side and shoulder.

The rider and motorcycle are fully separated before entering the visible frame. The motorcycle scrapes forward to the rider’s left, producing a physical trail of bright orange sparks. The rider tumbles independently to the right of the motorcycle.

The camera immediately begins the forward tracking push of <<<video_1>>>, following both subjects from behind.

7–9 seconds: The rider and motorcycle lose momentum independently. The motorcycle remains on its side and stops slightly left of the center line, facing generally forward. The biker completes his final roll and stops slightly right of center.

The sparks diminish and stop. Neither subject teleports, reverses direction or collides unnaturally with the other.

9–13 seconds: The biker turns onto his hands and knees with his back facing the camera. He plants both gloved hands on the asphalt, places one boot underneath his body and pushes himself upright.

As he stands, show only the back of his yellow helmet and the back panels of his yellow-and-magenta suit. He remains facing down the street, directly away from the camera.

He pauses and checks his head by placing one hand against the back and side of his helmet. Continue showing him entirely from behind. He never looks back, turns toward the camera or reveals his visor.

13–17 seconds: Still facing generally away from the camera, he walks toward the fallen motorcycle on his left. As soon as he reaches and grips the motorcycle, the rider and bike become centered together in the frame.

He grips the near handlebar with one hand and the frame beside the seat with the other. He bends his knees and uses his body weight to lift the same motorcycle from its side.

The motorcycle rotates physically around its road contact point until both wheels return to the asphalt. He rolls it slightly onto the center dividing line and aligns it directly with the street ahead. The camera makes only a subtle lateral correction to keep the biker and motorcycle perfectly centered.

17–20 seconds: The biker and motorcycle remain in the exact center of the frame.

With his back still facing the camera, the biker holds the motorcycle steady, swings one leg over the seat and mounts it. He settles into the riding position, places both hands on the handlebars and keeps one boot on the asphalt for balance.

The camera settles into a low, perfectly symmetrical rear view. Clearly show the back of his yellow helmet, the complete yellow-and-magenta back design of his racing suit and the rear of the exact purple motorcycle.

The motorcycle’s rear light glows red. Its engine restarts and produces one restrained rev. The biker leans forward, looking down the neon street and preparing to rejoin the race, but he does not launch before the video ends.

[CONTINUITY AND CONSTRAINTS]

Exactly five people and five motorcycles exist: three racers, one police officer with one police motorcycle, and one main biker with one purple motorcycle.

The police officer uses only the police motorcycle from <<<image_8>>>. The alternating red-and-blue emergency lights remain attached to the police motorcycle and never appear on another bike.

The first four motorcycles remain upright and continue away. Only the main biker crashes.

The main crash begins completely behind the camera. The main biker and purple motorcycle enter the visible frame already falling and sliding.

After standing, the main biker always has his back facing the camera. Never reveal his face, visor or front body view during the recovery.

When he grips, lifts and mounts the motorcycle, both the biker and motorcycle remain centered in the frame.

Preserve the main biker’s outfit and the purple motorcycle’s exact design throughout. Use natural gravity, friction, momentum, weight transfer and contact physics despite the stepped stop-motion cadence.

No cuts, fluid high-frame-rate movement, smooth optical-flow interpolation, repeated crash, duplicated subjects, motorcycle morphing, extra wheels, extra limbs, teleportation, explosions, fire, blood, exposed face, dialogue, subtitles, captions, readable logos or interface elements.

[AUDIO]

Diegetic sound only: three racing engines, one police motorcycle engine, strong Doppler movement, separate wind blasts, fluttering paper and the police siren approaching and fading away.

The police siren synchronizes with the alternating red-and-blue emergency lights.

During the crash: an offscreen skid behind the camera, a heavy offscreen impact, motorcycle fairings scraping across asphalt, metallic rattling, sparks crackling and protective clothing sliding over the road.

During recovery: distant engines and police siren fading away, the biker’s heavy breathing, gloves and boots contacting asphalt, motorcycle weight shifting, subtle mechanical creaks, the engine restarting and one final controlled rev.

Continuous neon buzzing, electrical flickering, trembling hanging signs, soft steam release and one brief startled cat sound. No music.

Video 2 Prompt

Create a 30-second cinematic motorcycle chase by reproducing <<<video_1>>> as an exact motion-reference animatic.

The entire video is one continuous shot with no cuts, transitions, hidden edits, or new camera angles.

HIGHEST-PRIORITY RULE: COPY <<<video_1>>> EXACTLY

<<<video_1>>> is the absolute authority for:

* The complete camera motion and camera path.
* The duration and timing of the shot.
* The starting and ending camera positions.
* Every camera arc, rotation, push-in, pullback, drop, rise, orbit, pan, tilt, and tracking movement.
* The exact camera distance from the riders and motorcycles.
* The movement underneath the main motorcycle.
* The rotation after emerging from beneath the motorcycle.
* The frontal tracking movement during the fight.
* The timing of the kicks and punch.
* The pullback as the first rival falls.
* The movement around the main racer after the first fall.
* The transition from the external camera into the main racer’s helmet POV.
* The first look toward the policeman.
* The return to the forward POV.
* The second look toward the policeman.
* The black-stick strike toward the POV camera.
* The final fall, camera rotation, ground impact, and resting position.

Reproduce the camera movement from <<<video_1>>> exactly from beginning to end.

Do not reinterpret or approximate the reference movement. Do not invent a different camera route. Do not add extra orbits, rotations, camera angles, or POV transitions.

The written prompt only identifies and replaces the characters, motorcycles, cars, environment, and visual style. If any written detail conflicts with the camera movement in <<<video_1>>>, always follow <<<video_1>>>.

MAIN SUBJECT LOCK

<<<image_1>>> is the main racer throughout the complete video.

<<<image_1>>> wears the exact yellow and magenta racing suit and yellow full-face helmet shown in the reference image.

<<<image_1>>> rides the exact purple sport motorcycle from <<<image_2>>> throughout the chase.

The rider whom the camera follows from behind at the beginning of <<<video_1>>> must be replaced by <<<image_1>>>.

The motorcycle followed by the camera at the beginning must be replaced by <<<image_2>>>.

The camera remains visually and narratively connected to <<<image_1>>> throughout the entire video, even when it travels under his motorcycle, moves in front of him, tracks him from the front, becomes his helmet POV, and falls with him at the end.

<<<image_1>>> must never transform into <<<image_3>>> or the policeman.

UNDER-MOTORCYCLE CAMERA MOVEMENT

The motorcycle that the camera passes underneath in <<<video_1>>> is specifically the purple sport motorcycle from <<<image_2>>>, ridden by <<<image_1>>>.

The camera approaches <<<image_2>>> from behind and drops very close to the road.

It then passes directly underneath <<<image_2>>> through the open space between its two moving tires.

Clearly show:

* The spinning rear tire passing behind and above the camera.
* The underside and mechanical details of <<<image_2>>> moving overhead.
* The road rushing underneath the camera.
* The front tire rapidly approaching ahead.
* The camera passing beyond the spinning front tire.

The camera must pass specifically between the rear and front tires of <<<image_2>>>.

Do not make the camera pass underneath <<<image_3>>>’s motorcycle, the police motorcycle, or any civilian car.

AFTER PASSING UNDER THE MOTORCYCLE

After the camera passes underneath <<<image_2>>> and emerges beyond its front tire, it must continue following the exact movement from <<<video_1>>>.

The camera rises and rotates around to face the racers from the front.

This is one uninterrupted camera move:

* The camera passes between the two tires of <<<image_2>>>.
* It emerges in front of the motorcycle.
* It rises from its extremely low road-level position.
* It rotates to face backward toward the approaching racers.
* It reveals <<<image_1>>> and <<<image_3>>> from the front.
* It begins traveling backward at racing speed.
* It tracks both racers continuously from their front angle.

After this rotation, the motorcycles continue moving forward while the camera moves backward in front of them, facing them.

The camera must track the two bikers from the front throughout the kick and punch sequence, exactly as shown in <<<video_1>>>.

Do not remain behind the bikers after passing underneath the motorcycle.

Do not continue facing forward down the street.

Do not cut to a front angle.

The rotation and transition into frontal tracking must happen as one continuous physical camera movement.

RIVAL IDENTITY LOCK

<<<image_3>>> is the rival racer who moves beside the main racer during the first fight.

Use the exact rider appearance, helmet, clothing, body proportions, and black motorcycle shown in <<<image_3>>>.

During the first fight:

* <<<image_3>>> is the racer who attacks and kicks.
* <<<image_1>>> is the racer being kicked.
* <<<image_3>>> extends his leg toward <<<image_1>>>.
* The kicks connect with <<<image_1>>>.
* <<<image_1>>> remains on the purple motorcycle from <<<image_2>>>.
* <<<image_1>>> recovers and punches <<<image_3>>> directly in the face.
* <<<image_3>>> receives the punch.
* <<<image_3>>> becomes stunned and loses control.
* <<<image_3>>> is the first racer to fall.
* <<<image_3>>> and his black motorcycle fall and slide behind the main racer.
* <<<image_1>>> does not fall during this first fight.

FRONTAL FIGHT TRACKING

During the fight, the camera is already in front of the racers after rotating from underneath <<<image_2>>>.

The camera tracks backward while facing both racers from the front.

Keep <<<image_1>>> and <<<image_3>>> clearly visible together.

<<<image_3>>> rides beside <<<image_1>>> and performs the first side kick.

The first kick connects with <<<image_1>>> in slow motion.

<<<image_3>>> pulls his leg back, regains his riding position, and performs a second distinct side kick.

The second kick also connects with <<<image_1>>> in slow motion.

Do not merge the two kicks into one action.

<<<image_1>>> regains his balance and prepares a powerful punch.

The camera continues its exact frontal tracking movement from <<<video_1>>> and pushes closer toward the riders.

<<<image_1>>> punches <<<image_3>>> directly in the side of his face.

The camera tracks the fist and impact from the front.

Show:

* The fist approaching <<<image_3>>>’s face.
* The exact moment of contact.
* The cheek compressing from the punch.
* The helmet and head snapping sideways.
* The eyes becoming unfocused.
* The expression changing from aggressive to stunned.
* The grip loosening from the handlebars.
* The body losing balance.

No blood and no gore.

FIRST-FALL IDENTITY RULE

The first person to fall is always <<<image_3>>>.

The first motorcycle to fall and scrape along the road is always <<<image_3>>>’s black motorcycle.

After <<<image_1>>> punches him, <<<image_3>>> loses control and falls according to the first fall shown in <<<video_1>>>.

Show <<<image_3>>>’s body hitting and rolling across the street while his black motorcycle falls separately and scrapes along the pavement, creating bright orange sparks.

The camera follows the exact pullback and retreating movement from <<<video_1>>> while <<<image_3>>> is left behind.

<<<image_1>>> remains upright on <<<image_2>>> and continues racing.

Do not make <<<image_1>>> fall during this section.

Do not swap the two racers.

Do not show <<<image_3>>> continuing the chase after his fall.

POLICEMAN REFERENCE MAPPING

* <<<image_10>>>: exact policeman’s heavy body, black leather police jacket, blue trousers, gloves, boots, white helmet, and black police stick.
* <<<image_9>>>: exact policeman’s face, facial proportions, threatening expression, evil eyes, and sinister grin.
* <<<image_8>>>: exact white police motorcycle with flashing red and blue police lights.

Combine the exact body and clothing from <<<image_10>>> with the exact face from <<<image_9>>>.

The policeman rides the exact police motorcycle from <<<image_8>>>.

He holds the black police stick from <<<image_10>>> in one hand while controlling the motorcycle with his other hand

6- FINAL VIDEO

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