Wan 3.0 Prime
Up to 5x faster iteration of Wan 3.0. Text to video up to 30 seconds, with native audio.
alibaba/wan3.0-video-prime/text-to-video
Examples
representative generations · starting points to seed the playground
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WIDE 16:9 CINEMATIC LETTERBOX PANORAMA — twice as wide as tall, like a cinema screen. NOT square, NOT vertical. A single continuous 10-second shot that travels from above the water to below it. THE SCENE. A rectangular tiled bathing pool fills the frame from the far left edge to the far right edge as a long horizontal band, seen slightly from above and square-on; the pool's tiled steps and shallow ledges run along the left and right edges as symmetrical leading lines, the far tiled wall closing the top third, the still water filling the whole lower half. One woman is submerged in the pool up to her chin, only her head above the waterline, dead centre in frame, dark hair slicked flat and wet against her scalp with a centre parting, water beading on her forehead and running down her temples, chin level, facing camera, deadpan, entirely still. The water is pale and milky at the surface, perfectly calm, unbroken but for the meniscus curving where it meets her jaw. The pool is lined edge to edge in matte glazed square ceramic tiles in a soft chalky RED — a dusty brick-rose red at a gentle, low-to-moderate saturation, exactly as soft as a pale sage green, chalky and powdery rather than vivid: NOT scarlet, NOT crimson, NOT a bright saturated red, NOT a strong primary. The same soft tone across the far wall, the steps and the ledges, with pale grout lines and a faint mottled variation in the glaze. THE MOTION. One unbroken shot, no cuts. FIRST BEAT: she holds absolutely still at the surface, deadpan, chin level, the water flat around her. She draws one slow breath in, her chest lifting, and closes her mouth. SECOND BEAT: she lowers herself straight down and submerges — sinking smoothly, not falling, the waterline climbing over her mouth, over her nose, over her open eyes, over her hair, until the milky surface closes above her and seals flat again. The camera SINKS WITH HER, descending in one continuous move and passing THROUGH the waterline in the middle of the shot — a brief blurred smear of surface and spray across the lens as it crosses — and comes out underwater, now fully submerged with her. THIRD BEAT: underwater. Her face fills more of the frame, lit softly from above, hair lifting and drifting slowly around her head in the water, the red tiles of the pool walls visible behind her but diffused and desaturated by the water. She holds her breath, cheeks faintly full, eyes open and steady on the camera, still deadpan. Then she parts her lips and slowly BLOWS OUT A STREAM OF AIR — a rising column of silver bubbles of mixed sizes tumbling and wobbling upward past her cheeks and forehead towards the surface, catching the light, the last few small ones trailing after. She keeps looking at the camera the whole time. Below the surface the water is clear enough to see her face and the tiled walls softly — hazy and diffused, never opaque, never black, never murky. Colour: soft but vibrant — never oversaturated, never desaturated or washed out. Build one complementary pairing: pale milky cool water and bare skin against the soft chalky red tile. Colours true; no cast, no teal-and-orange or stylised tint. Contrast controlled, low-to-moderate. Do not let brown, tan, beige, khaki, sepia or muddy earthy tones spread through the frame. Lighting: bright, high-key and luminous like an airy daylight studio or a clean overcast day — light-filled and open, never dark, never moody, never low-key. A large soft close source from above, carrying down through the water as soft shafts. Shadows filled so texture holds in skin and tile; shadows soft but PRESENT. No bare flash, no harsh sun, no sharp-edged shadows. Light neutral and true, never coloured for mood. Skin with real photographic texture — visible pores, fine hairs, freckles, natural variation in tone, never smoothed or retouched or plastic. Anatomy correct and believable, face correctly formed and symmetrical, eyes level. Film texture: shot on real photographic film, medium-format or 35mm, fine organic grain across the whole frame, gentle halation where bright highlights meet darker tone, filmic and analogue, never clinical, never digitally sharp — no HDR, no clarity, no over-sharpening. Natural restrained grade, blacks open, slightly creamy finish, highlights rolling off softly. Deadpan, entirely straight-faced, quiet dry wit. Elevated high-end fashion campaign film. No text, no lettering, no logos, no branding, no watermark. Audio: above water — quiet tiled-room reverb, a faint lap of water against tile, one clear intake of breath. As the camera crosses the surface, the sound drops abruptly into a muffled underwater world: a low pressure hum, everything distant and dulled. Then the soft burble and rush of exhaled bubbles rising and popping. No music, no dialogue, no narration.
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Horizontal landscape aspect ratio, classic wide photographic framing. A long municipal changing-room corridor painted entirely in a saturated chartreuse green — walls, ceiling, floor, doors, all one true acid green, clean and empty. The walls have a slight velvety texture: a fine matte suede-like nap on the painted surface, a soft flocked pile that catches the light and shifts subtly in tone as the camera moves past, no gloss, no sheen — just a quiet velvet bloom on every surface. Far down at the end of the corridor, very small, one woman stands facing camera in a deep cobalt blue coat, arms at her sides, chin level, deadpan. She is the only other colour in the frame. One-point perspective, the corridor lines converging on her, she sits just off-centre on the right third, enormous chartreuse negative space filling the rest. Color: soft but vibrant, never oversaturated and never desaturated or washed out. Full true color range, saturated reds oranges blues and greens welcome. Exactly ONE complementary pairing in the frame: the vast saturated chartreuse green against the one small deep cobalt coat — a lighter tone against a deeper saturated one, warm against cool, for depth and to separate subject from background. Colors true and accurate, no color cast, no teal-and-orange, no stylized tint; contrast controlled, low-to-moderate. Lighting: soft, diffused, even and dimensional — a large soft close source or overcast open shade. Never hard or flat: no bare flash, no harsh sun, no sharp-edged shadows. Shadows filled so texture holds in fabric, skin and surface — soft but present, giving dimension, detail alive inside them. Light neutral and true, not colored for mood; the contrast comes from the colors. Grade natural and restrained, slightly creamy finish, highlights rolling off softly, a touch of warmth, never crushed blacks or empty shadows. Shot on medium-format film, light natural fine grain, no HDR, no clarity, no over-sharpening. Whites stay white, skin stays natural, real surface detail in the velvet nap of the walls, fabric weave, skin, metal and stone. Deadpan, entirely straight-faced, quiet dry wit. Elevated high-end fashion campaign advertisement photograph. No text, no lettering, no logos, no branding, no watermark. Camera rotating and moving forwards down the corridor while she walks towards the camera. Multiple shots: wide one-point-perspective establishing shot of the infinite hallway; close-up of her face, deadpan; detail shot of the velvety chartreuse wall surface and the cobalt coat sleeve passing it; back to the endless corridor. She changes from walking to running towards camera. Audio: quiet room tone, soft footsteps on the corridor floor building from a slow walk into a run, faint reverberant echo down the hallway. No music, no dialogue.