Text to Video AI Generator

Say who or what the shot is about, then add two or three visible details such as age, clothing, material or color. “A tired nurse in teal scrubs” gives the model far more to draw than “a person”. Keep one main subject per clip so the frame has a clear center of attention.

Describe what changes between the first second and the last, using verbs that carry a pace: pours slowly, glances back, shakes off the rain. A short clip has room for one action with a clear start and finish. Three actions packed into one sentence usually come out rushed or half done.

Name the place, the time of day and, if it matters, the weather, plus one or two background details. Details that move on their own, like steam, leaves or passing traffic, keep the frame alive even while the subject stands still. A crowded background competes with the subject, so choose sparingly.

State the framing (close-up, medium shot, wide shot) and one movement: static, slow push-in, pan, tracking shot or handheld. Say where the move starts and where it ends. Instructions that pull in opposite directions, such as zooming in while pulling back, leave the model guessing which one you meant.

Describe the light source, its direction and its color: low sun from behind, a single desk lamp, flat overcast daylight. Add a look only if it matters, such as 35mm film, old home video or clay animation. Light shifts the mood of a shot faster than any extra prop does.

When the model generates audio, write down what you would hear: room tone, footsteps on gravel, rain on a tin roof, a train far away. Mix near and distant sounds. If you plan to add your own music or voice-over, pick a model that lets you switch audio off and skip this part.

All three models render 9:16. For a very short hook or loop, Wan 3.0 starts at 2 seconds. If you want sound baked in, MiniMax H3 always adds a stereo track, while on Wan 3.0 and Seedance 2.5 you decide whether the audio stays on.

Drifting along a coastline or watching a city wake up takes time. Wan 3.0 runs up to 30 seconds, while MiniMax H3 and Seedance 2.5 stop at 15. In a longer shot, describe a gradual change, such as light moving across a wall or fog lifting, so the extra seconds have something to show.

For a letterboxed, cinematic frame, 21:9 is available on MiniMax H3 and Seedance 2.5. Wide frames reward prompts with something happening across the whole picture, such as a rider crossing a plain under a huge sky, rather than one small subject in the middle.

If the video goes into an edit with your own music, narration or sound design, a silent clip is easier to work with. Switch the audio off on Wan 3.0 or Seedance 2.5. MiniMax H3 always generates a soundtrack, which you can still mute or replace in your editor.

When the clip will be shown large or cropped later, resolution matters. MiniMax H3 offers 2K, and Wan 3.0 and Seedance 2.5 go up to 1080p. Higher settings raise the credit cost, which the Generate button shows before you commit.

When you only need to see whether a scene works, stay at low resolution and short durations; 480p on Wan 3.0 or Seedance 2.5 keeps drafts inexpensive. Try several variations of the same idea, keep the strongest, then render that one properly.

“An elderly clockmaker in a green apron bends over his workbench, picks up a tiny brass gear with tweezers and lifts it toward the window. A cramped workshop at dusk, walls covered in ticking clocks, dust drifting in the air. Slow push-in from a medium shot to a close-up of his hands. Warm lamp light from the left, cool blue light from the window, shallow depth of field. Sound: layered ticking, a tram passing faintly outside, the click of the tweezers.”

“An elderly clockmaker in a green apron” is one person with two visible traits. “Picks up a tiny brass gear and lifts it toward the window” is a single action with a beginning and an end point, so the clip has a shape instead of aimless fidgeting.

“A cramped workshop at dusk” fixes place and time in a handful of words. The ticking clocks and drifting dust are background details that move by themselves, so the frame stays alive while the clockmaker’s hands do slow, careful work.

“Slow push-in from a medium shot to a close-up of his hands” names one move, its speed, the opening framing and the closing framing. The model knows where to begin, where to finish and what the shot is really about: the hands and the gear.

“Warm lamp light from the left, cool blue light from the window” gives two sources with direction and color, which puts contrast on his face. “Shallow depth of field” softens the wall of clocks so it supports the subject instead of crowding him.

Three layers: a room sound (the ticking), a distant sound (the tram) and a close detail (the tweezers). That gives a model with audio a clear mix to aim for. On Wan 3.0 or Seedance 2.5 with audio switched off, delete the sentence; it no longer does anything.

No second character, no dialogue, no lettering on screen and no cut to another place. Each would split one short shot between competing ideas. If your story needs them, generate them as separate clips with their own prompts and join the clips in an editor.