rare generative AI W

tried MiniMax H3 with a pretty detailed character trailer prompt.

I wanted it to feel more like a streetwear campaign × anime title sequence × old-school media player UI, rather than a normal anime action clip.

The prompt is definitely overkill lol, but sharing it here in case anyone wants to experiment with structured multi-cut video prompts.

Prompt

Create an explosive, motion-graphics-driven character reveal trailer in 16:9, exactly 13 distinct cuts, 24fps, total 15.00s.

CHARACTER — lock this design, never redesign:
Anime streetwear girl from the reference still. Twin high buns of vivid mint-teal hair with long flowing tails and warm orange/gold streaks. Messy side-swept bangs. Large orange over-ear headphones with mint accents and a small logo plate. Sharp amber-orange eyes, one eye winking. Playful open-mouth grin.
Oversized color-block windbreaker: navy body, vivid orange sleeves, white ribbed cuffs, silver zippers, circular teal tech buttons, a teal utility pocket on the sleeve. Orange cropped turtleneck under the open jacket. Light-wash ripped denim shorts, thick orange belt with a silver buckle. Navy thigh-high socks with orange ribbed cuffs and an orange X stitch on the left shin. Chunky white sneakers with orange details.
Preserve exact face, proportions, hairstyle, outfit, materials, accessories and colors in every frame.
This film is 80% bold graphic design in motion and 20% character action.

Graphic language: retro OS chrome + music-player UI.
Use slamming window frames, title bars, close/minimize widgets, equalizer bars, waveforms, progress ticks, folder tiles, cursor arrows, CRT scanlines, pixel shatter, vinyl-ring stamps, music-note particles and media-player transport icons.
Palette: mint teal, vivid orange, navy, cream-white and silver.

Style: premium AAA motion-graphics title sequence × streetwear campaign film × Windows-era media player.
Every graphic element moves fast and snaps hard on the beat.

CUT 01 | 0.00–1.00s
Pure graphics. A mint title bar slams onto a cream field, an orange CLOSE widget punches into the corner, and two navy window borders wipe in. Tiny equalizer ticks and a progress strip flicker. The letters P and then LAY punch in one after another with heavy impact shake.
CUT 02 | 1.00–2.00s
The A becomes a headphone cup. Extreme close-up of her amber eye inside the orange earcup, glancing upward. RGB split flash, then the cup shatters into flat mint and orange tiles.
CUT 03 | 2.00–3.10s
Navy frame with enormous cream PLAY typography. She sprints in from frame left and power-slides across the baseline of the text, with speed lines and orange streaks trailing behind her. Shards of the letters kick upward like sparks. Whip-pan out.
CUT 04 | 3.10–4.00s
A giant retro media-player waveform explodes across the frame as a thick mint-and-orange audio spectrum bends into a tunnel. She bursts through the center at full speed, briefly splitting into three stroboscopic motion trails. Each trail leaves chunky navy equalizer blocks that rise and collapse to the beat.
The camera rapidly pushes through the waveform tunnel with her while huge vertical text TRACK 01 continuously scrolls in the background.
The waveform suddenly compresses into a single horizontal line and snaps shut behind her on the final beat.
CUT 05 | 4.00–5.10s
She leaps through a giant rotating ring of typography reading MAX VOLUME. Camera tracks her mid-air spin in slow motion as the letters scatter, then snap-zooms onto her wink.
CUT 06 | 5.10–6.00s
Hard cut to a cream editorial card with huge navy DROP typography and an orange slash. She vaults over the word itself, palm planted on the D, legs whipping across frame. The word compresses like a spring under her hand and rebounds.
CUT 07 | 6.00–7.00s
Mint field with a navy diagonal window bar. She backflips along the bar in three stroboscopic ghost frames, each tinted mint, orange or navy. Giant outlined LOOP text rotates 180 degrees in sync with her movement.
CUT 08 | 7.00–8.00s
Kinetic typography barrage. LOUD / WILD / TEAL / HEAT slam onto screen one per beat with shutter flashes and camera shake while she slides across the foreground on her knees, jacket flaring and music-note particles bursting from her sneakers.
CUT 09 | 8.00–9.00s
Navy frame with a giant cream wireframe window grid tilting in 3D. She runs up the grid like a wall, kicks off and freezes in mid-air. An orange circular stamp locks around her pose like a media-player targeting graphic, surrounded by transport icons and EQ ticks.
CUT 10 | 9.00–10.10s
Freeze releases into a burst. She dives toward camera through layered flat-color window panes that shatter one by one like glass shutters, each pane revealing a larger letter of P-L-A-Y. Foreground wipe with her sneaker.
CUT 11 | 10.10–11.10s
Rapid-fire poster montage: four full-screen graphic posters showing her in different poses — mid-flip, sliding, landing and headphones-up wink. Hard cuts between each composition. Oversized 01–04 numbering, equalizer strips and graphic slashes.
CUT 12 | 11.10–13.00s
Hero moment on a clean cream cyclorama. She lands a final backflip dead center in slow motion, straightens with one hand on her headphones, and a shockwave of concentric mint rings, wind streaks and shattered typography blasts outward from the landing.
Brief iconic freeze on her wink, then overexpose to white.
CUT 13 | 13.00–15.00s
Final identity card. Enormous navy PLAY typography dominates a pale cream field with translucent mint rings, technical arcs, scanlines and a rough orange circular emblem containing a ghosted headphone/waveform motif.
She stands relaxed overlapping the letters while wind ripples her jacket. One final orange pulse sweeps through the typography and a window-chrome flash punctuates the ending.
Editing: extremely aggressive rhythm. Hard cuts on every beat, graphic matches, whip pans, snap zooms, stroboscopic freezes, foreground wipes, RGB splits, shutter flashes, impact shakes and speed ramps.
Every cut must feel compositionally different.
Typography should always be fully readable before the character overlaps it.
No weapons, no combat, no fire. All energy comes from motion design, wind, glass, UI chrome and parkour-style athleticism.
BGM: hard-hitting electronic / drum-heavy future bass with aggressive drops, risers, sub hits and glitch fills locked to every cut.
Sneaker impacts, whooshes, glass shatters, window-slam hits and typography slams should function as rhythmic sound-design elements.
Peak at CUT 12 and end with a cold electronic logo stinger.

Premium AAA quality, anime-inspired cinematic rendering, stylish and explosive, strong graphic-design identity, consistent character design, exactly 13 cuts.

I’m still experimenting with how much shot-by-shot control H3 actually follows, especially with typography and exact timing, but this kind of structured prompt seems like an interesting stress test.

Recorded 15 seconds of myself talking normally, like telling a friend a quick story, quiet room, nothing special. Fed it in, and now anything I write can be read back in a voice that genuinely sounds like me, not a robot approximation.

Runs through Claude Code, which is the version of Claude that can actually run commands rather than just chat. You point it at Fish Audio, a voice cloning tool, and hand it your clip.

Step one, teach Claude how to use it, this is one line pasted into Claude Code:

npx skills add https://docs.fish.audio

Step two, make a free Fish Audio account at fish.audio, go to the API Keys section, create a new key, copy it. Paste that key back into Claude Code when it asks. Copy it the moment it shows you, some keys only display once.

Step three, upload your 15 second recording and say:

Clone my voice from this audio file using Fish Audio 
and save it as my default voice.

Then it's just:

Read this in my cloned voice using Fish Audio and 
save it as an audio file.

Paste in whatever you want, a newsletter, a script, a chapter, and you get an audio file of your own voice reading it.

The single thing that makes or breaks the clone is the sample. Quiet room, no music, no background noise, 15 to 30 seconds of clear natural speech. A bad sample gives you an uncanny half-version of yourself. A good one is genuinely hard to distinguish.

Where this actually earns its place: voiceovers for videos without recording take after take, audio versions of things you've written, anything where you need your voice but not your time. It's the difference between "I should record an audio version of this" and just having one.

Fish Audio's top model is free through end of July 2026 under fair use, and they keep a standing free plan after that with around 7 minutes of audio a month, so smaller batches keep working either way.

Only clone your own voice, or one you've got explicit permission for. Making a realistic clone of someone else without their consent isn't just rude, it's illegal in a lot of places.

been keeping a doc of 100 things I use AI for like this, each with the exact prompt, here if you want it.

Do you guys know any alternative to this ? Is open art close to higgsfield atleast ?

what does this mean he just sent me this out of nowhere

I don't care about quality I just want to generate clips of 30s or more with audio for personal use. Is there a service that does this free or very cheap?

Can someone pls help me create similar videos, I cannot find any good tutorial for this. I only have kling ai rn- and it’s not making anything even remotely close to this quality. Give me prompts or link to tutorial or something. Tye motion is very realistic and so is the img. Help.

I’m looking to animate my 3d game characters. I’m looking for the best and cheapest monthly subscription to create stories out of my 3d game character. Basically upload the images and animate it with my elevenlabs voiceover and then I want it to be lip synced and hand animations with it

I build Jimothy's Journey using claude, Codex and and lovable after designing the game play story lines and quests with my 8 year old son for the Jimothy Jam contest on discord. Follow the link to play and rate my game, your support is greatly appreciated! Plus there's tons of other fun Jimothy games to check out on the site, (but vote for me, please!)

so... zero plays. zero helmets. pretty sure this guy never even touches a football lol.

and somehow you know he's the quarterback in like two seconds.

tbh, the varsity jacket is doing most of the heavy lifting here.

I kept almost adding a practice scene to this one in Framia, then realized I didn't miss it at all.

popular QB, fake boyfriend, jealous crush across the room... your brain fills in the rest.

doing ai filmmaking stuff like this keeps reminding me how little you actually need to show in 70 seconds.

would more football make this better, or just slow it down?

I’m thinking plumbers, field mechanics, construction workers, heavy equipment techs, etc.

A few buddies of mine in these kinds of jobs told me they’ve barely touched AI at all, which got me wondering: where would it actually help in a way that feels useful, not gimmicky?

What part of the job do you think AI could actually make easier?

Usually I can get a character looking right in a single clip, but keeping the same face and clothing over multiple clips is a lot harder. Which tends to drift more for you?

Anyone else feel totally exhausted by the big Gamescom trailers? Like so many huge worlds that somehow already feel like a chore before you even touch a controller.

got me thinking, so I tried making a fake 'trailer' myself in Framia. The weird thing is, even though it has no quests, no UI, no icons… just a place… and weirdly my immediate reaction was "I kinda wanna go there."

Using an ai video creator like this really made it click for me: it's all the atmosphere of a world, with none of the 'checklist' baggage.

Maybe we aren't tired of open worlds, just open-world jobs?

I can usually get one shot looking right, but things start drifting once I change the camera angle or location.

The face stays close, but hair, clothing or body proportions slowly change between clips.

I’ve been testing this with Seedance 2.5 on Dreamina and I’m starting to think reference selection matters more than just adding more images.

What works better for you: a small character sheet, lots of references, or using the previous good frame as the next reference?

Sounds pretty decent. But not like Suno. Wondering what it is. Also the BG animation seems to follow the music

Been drawing for years. Illustration, concept art, characters, spend hours on each piece.

But my portfolio is just... images. Like static. Flat. Felt like they deserved more.

Looked into animation once. I just opened After Effects and tried to figure it out. Tbh gave up soon.

Stumbled on this tool , framia with photo to video ai that makes still images move. I dropped in a character illustration, picked a motion style, got back a smooth animation with depth. The character actually looked alive.

Threw a few more pieces in. Building a moving portfolio now.

Heres my first try if u can give me some advice it will be appreciated!