MiniMax H3 Video Generator with Sound Built In

Text mode needs nothing but a prompt, which makes it the simplest way to explore an idea: rough out a scene, listen to how the sound comes out, then refine. It also offers the full set of frame shapes, from vertical 9:16 for phones to a wide 21:9 strip.

Upload a first frame and the clip opens on that picture, then moves the way your prompt describes. Use it when the starting composition matters: a portrait you have already approved, a product photo from a campaign shoot, or a storyboard still you want to bring to life.

A last frame on its own works too. The video travels toward the picture you supply, which suits reveals: a bottle settling into its packshot position, a door swinging open onto a finished room, or a final layout that the motion comes to rest on.

Give the model a first and a last frame and it works out the movement in between. That is handy for bridging two shots in an edit, showing a before-and-after change, or turning two storyboard panels into one continuous move. The output keeps the shape of your images.

Reference mode accepts up to five images that steer the result instead of acting as fixed frames. Feed it a character, an outfit, a product or a location, then describe the action freely. Besides the six fixed ratios, this mode also lets you choose adaptive.

Every clip comes with a stereo track generated together with the picture rather than layered on afterwards. Write dialogue, music or sound effects into the prompt and they become part of the result. The track is always on, so plan for it even when you only need visuals.

Duration can be any whole number from 4 to 15 seconds, so a clip can match a beat in your edit or a slot on a platform instead of being rounded to a preset. The credit figure on the Generate button updates as you move the setting.

768P is the sensible tier for tests and social feeds, while 2K is for the version you deliver. Since the cost on the Generate button changes with resolution, you can compare both tiers yourself and keep 2K for the take where the extra detail is worth it.

Upload the approved product photo as the last frame and describe the build-up: a box lid lifting, light sweeping across the label, a soft whoosh and a closing chime. The clip comes to rest on the image your client already signed off, and the final take can be rendered in 2K.

For phone-first feeds, write a short 9:16 scene with one spoken line and a music bed, set it to eight or ten seconds and render at 768P. The post arrives with sound in place, so there is less to add before it goes out.

Turn two storyboard panels into a first and a last frame and let the model fill the motion between them. Working at 768P lets a team check pacing, camera moves and rough sound before a shoot is booked or a 2K render is ordered.

Keep a set of up to five reference images of a character, its outfit and its usual setting, and reuse them for every episode while only the prompt changes. Working from the same set each time helps a series stay recognisable from one clip to the next.

Export the last frame of one shot and the first frame of the next from your timeline, upload them as the two ends, and generate the move that links them. Because frame mode follows the shape of the image, the bridge fits the format of your edit.

Wide 21:9 or 16:9 shots of a city at dusk, a forest after rain or a quiet café, each with matching ambience, make useful backgrounds for intros, presentations and video essays. Ask for ambience only and no music when a narrator will speak over the top.

Finish the visual description first, then start a new sentence for sound, for example: “Sound: steady rain on a tin roof, distant thunder, no music.” Keeping the two apart makes the prompt easier to read and makes it obvious which words are about the soundtrack.

Put spoken lines in quotation marks and say who delivers them and how: the old fisherman mutters, “Storm’s coming.” Keep lines short enough to be said inside the clip. A six-second shot has room for one sentence, not a speech.

A genre name alone is vague. Try a slow solo cello, a warm lo-fi beat with vinyl crackle, or bright synth-pop with hand claps, and say whether the music should start softly, swell near the end or stay low under the voices.

Effects are easier to place when they are linked to something on screen: the door creaks as it swings open, glasses clink as two friends toast, gravel crunches under bicycle tyres. Pairing a sound with an action also hints at when it should happen.

There is no switch that turns the audio off. If you want a near-silent clip, ask for quiet room tone or a light breeze rather than leaving sound out of the prompt, then mute the track in your editor if the final cut needs total silence.

Once you upload frames, the look is already set. Use the prompt for what moves, how the camera travels and what the viewer hears, instead of describing the scene a second time. In reference mode, say in plain words what each image stands for.