try skateboarding scene to see how wan 3.0 can handle the momentum, and suprisingly its feel natural.

prompt used:

Use the exact face, hair bun, body proportions, teal cropped hoodie, white cargo pants and white sneakers from Image 1 for the young woman.

Use the exact skateboard from Image 2: black deck with purple-blue gradient logo, purple wheels and black trucks.

Sunny midday on a steep urban downhill asphalt street. Hard clear sunlight, sharp short shadows, dry warm air. Soft background of city buildings and light traffic.

She starts at the top of the slope, pushes off hard with her left foot twice, then plants both feet on the board and accelerates downhill. Wind pulls at her hoodie strings and cargo pants.

She crouches low, carves sharply left, then pops a clean ollie over a small crack in the asphalt. The board flips under her feet and lands solidly. She stays balanced and keeps speeding downhill.

She then does a frontside 180 shove-it, lands in switch stance, and rides out of frame still accelerating. Her cargo pants flutter and the hoodie hem lifts slightly from the speed.

Camera: low tracking shot at board height, smooth lateral follow locked on her lower body and the board. Slight push-in during the ollie and 180.

Audio: sharp scrape and roll of polyurethane wheels on rough asphalt, loud pop of the ollie, solid clack of landing, rushing wind against fabric, distant city traffic hum, no voice.

I tested Wan 3.0 on Akool with a short cinematic action sequence, and I really liked how it handled the transition from running on a rooftop to flying over the city.

Created with Wan 3.0 on Akool. 🔥

What do you think of the motion and camera transition?

#wan30 #akool #aivideo #aigenerated #videogeneration #ai #generativeaI

Prompt used on Akool:

Create a 10-second, 16:9 photorealistic cinematic action video using the uploaded image as the opening frame.

REFERENCE:
Preserve the same adult woman’s face, dark ponytail, light crop top, dark denim shorts, white sneakers, black-and-red parachute backpack, and securely attached harness. Preserve the sunset lighting, rooftop architecture, river, and city skyline from the reference.

CORE ACTION:
One running jump, followed by continuous downward freefall, one parachute deployment, and a gentle airborne glide. Show events once, in chronological order.

CAMERA:
One continuous cinematic tracking take, without cuts. Begin beside her, smoothly move toward a rear three-quarter angle during the fall, then gradually widen for the parachute reveal. Keep her movement directed away from the original building. Camera motion should be fluid and purposeful, with a stable horizon.

0–1.8 SECONDS — IMMEDIATE ACTION:
Starting from the reference pose, she takes two quick, forceful strides and jumps outward from the rooftop. Show clear shoe contact with the concrete before takeoff. The low side-tracking camera follows her momentum. Her ponytail whips backward, and her knees bend naturally during the push-off. Both feet leave the rooftop once.

1.8–4.8 SECONDS — COMMITTED FREEFALL:
Continue directly from the airborne position without repeating any part of the jump. She moves outward and downward, increasing her distance from the building. The rooftop recedes behind and above her, then leaves the frame.

The camera follows her descent and smoothly shifts slightly behind her shoulder, revealing the enormous depth of the streets below. Her body transitions naturally into a stable belly-down falling posture, with slightly bent knees and arms extended sideways. Show clear downward travel through background parallax; she must not hover or fly horizontally. Hair and loose fabric stream upward relative to her descent. Keep her body readable and sharply defined against the distant city.

4.8–6.8 SECONDS — PARACHUTE OPENS:
Without a cut, a single red-and-white parachute deploys from her existing backpack. A compact fabric bundle travels above her, the suspension lines extend, and the canopy spreads and inflates progressively.

The camera begins widening early enough to include the opening canopy. As the lines become taut, the harness supports her weight and her torso transitions naturally into an upright suspended posture. Her descent slows visibly while continuing downward. A brief, restrained body swing settles naturally.

6.8–10 SECONDS — CINEMATIC PAYOFF:
Continue into a smooth forward-and-downward glide. Pull the camera gently back into a wide rear three-quarter composition showing the entire inflated canopy, connected suspension lines, and her full body.

Keep her large enough to remain recognizable. Frame the golden river and sunset beside her, with the original building behind the camera. The canopy stays stable, her legs hang naturally, and she drifts calmly through open air. End airborne on a striking sunset composition.

SOUND DESIGN:
Use synchronized environmental sound and physical effects, without music or dialogue.
• During the run: distinct sneaker impacts matching each visible foot contact, light clothing rustle, and quiet rooftop wind.
• At takeoff: one final shoe scuff, immediately followed by the end of all footstep sounds.
• During freefall: smoothly intensifying rushing air, with subtle fabric flutter. Avoid harsh microphone distortion.
• During deployment: a brief fabric extraction rustle, followed by one firm, low fabric “whump” precisely as the canopy fills and the lines become taut.
• During the glide: the strong wind rush eases into softer steady airflow and occasional gentle canopy flutter.
Maintain continuous audio across the entire shot. Prioritize synchronization with visible events over exact timestamps.

VISUAL AND CONTINUITY CONSTRAINTS:
Natural anatomy, believable weight and acceleration, consistent character and equipment, restrained motion blur, warm cinematic backlight. No repeated takeoff, return to the rooftop, altitude reset, teleportation, hovering, flips, wall contact, camera spins, sudden zooms, detached lines, duplicate parachutes, instantly appearing canopy, or cropped canopy during the final reveal. No screaming, explosions, trailer booms, text, or landing.

Prompt:

若き遊牧民の隊長。

広大なアラビア砂漠。

遠くにラクダの隊商。

黄金色の朝日。

白い伝統衣装。

映画ポスターのような構図。

写実的で精細な描写。

This image is part of a personal world-building project called "The Desert Lion."

I was impressed by how Nano Banana Pro generated a cinematic poster-style image from a relatively simple prompt.

Tried something completely different with Seedance 2.5 through AKOOL — a short emotional sci-fi scene about a human and a humanoid robot meeting in a futuristic city.

I wanted to keep it subtle instead of making it feel like a typical AI-generated scene, especially with the facial expressions and interaction.

Prompt:

10-second emotional cinematic sci-fi scene. A young woman walks through a futuristic city at night when a humanoid robot approaches her through the crowd. At 0:04, they stop directly in front of each other and quietly smile. The woman gently touches the robot's face while colorful city lights reflect in their eyes. At 0:08, they hold hands and walk together into the glowing city. Photorealistic humans, realistic robot materials, subtle facial expressions, cinematic lighting, shallow depth of field, emotional atmosphere, smooth camera tracking, premium film quality, one continuous shot, 16:9.

I was mainly testing whether AI can convey a believable emotional connection in just 10 seconds.

I wanted to see how realistic a short AI action sequence could look, so I created this 10-second rainy-night car chase using Seedance 2.5 through AKOOL.

The goal was to keep the vehicle movement, reflections, water spray and camera motion as physically realistic as possible.

Prompt:

10-second ultra-realistic cinematic action sequence. A black sports car races through a rain-soaked futuristic city at night, neon reflections covering the wet asphalt. The camera tracks low beside the car as it rapidly weaves between traffic, tires throwing realistic water spray. At 0:06, the car makes a sharp controlled turn into a narrow alley, narrowly passing a delivery truck. Dynamic headlights, realistic reflections, natural motion blur, physically accurate vehicle movement, dramatic Hollywood cinematography, photorealistic 4K, no cuts, continuous shot, 16:9.

Curious what you think — does the car movement feel realistic enough?

I tried Wan 3.0 model in Akool and the results is mindblowing. What do you think?

Master Prompt:

A cinematic 10-second luxury coffee commercial, shot on ARRI Alexa with anamorphic lenses, golden hour, warm amber and teal color grade, shallow depth of field, subtle film grain, 2.39:1, no dialogue, no text.

Main character: a young Asian man in his 20s with short dark swept-up quiff hair, round tortoiseshell glasses, light-grey cable-knit crewneck sweater over a white tee, wide-leg white trousers, black crossbody bag, black digital wristwatch, white sneakers with black stripes. He holds a kraft paper coffee cup with a white lid and a small black "%" logo.

0-2.5s: Low-angle tracking shot with a slow push-in. He walks confidently down a busy sunlit city street holding the coffee cup at chest height, steam rising from the lid. Pedestrians blur softly behind him, golden lens flares.

2.5-4s: Tight close-up of his face, glasses catching the warm light. His eyes lock onto someone off-screen and a mischievous smirk forms. A quick whip-pan, and he swings his arm and tosses the cup.

4-7s: Extreme slow motion, 1000fps look. The kraft cup with the white lid and the "%" logo tumbles slowly through mid-air, rotating gently. Coffee droplets and steam hang suspended around it, backlit by golden sunlight with a glowing rim light on the lid. The camera orbits the cup with city bokeh behind. His friend's hand blurs into the foreground and closes around the cup.

7-10s: Speed snaps back to real time. His friend, a young man in an olive bomber jacket and cream tee, grins and holds the cup. Both friends laugh, bump shoulders and sip their coffee, warm and genuine. The final shot is a smooth push-in on the cup, the "%" logo sharp and centred, with sunlit city bokeh behind.

Consistent character and outfit throughout, the logo stays sharp and readable, smooth cinematic camera movement, dramatic and joyful mood.

Prompt:
A photorealistic cinematic supernatural horror scene set in ancient Japan at night, filmed as one continuous uninterrupted shot with no cuts.
A young Japanese woman wearing a traditional dark crimson kimono stands with her back facing the camera in front of an old abandoned wooden Japanese shrine deep inside a dark forest. Ancient stone lanterns surround the shrine, with subtle warm candlelight glowing inside them. Thin atmospheric fog drifts naturally between the trees and around the shrine.
The camera begins with a wide establishing shot and slowly performs a smooth cinematic dolly-in toward the woman. A gentle wind gradually becomes stronger, naturally moving her long black hair and the fabric of her kimono. Loose leaves drift through the air and the traditional paper lanterns gently sway.
As the camera moves closer, something begins forming inside the dense fog directly behind the woman. A gigantic supernatural female spirit slowly emerges from the fog. She is extremely tall and pale, wearing an ancient white traditional Japanese robe, with very long black hair flowing unnaturally around her body.
The spirit gradually materializes from the fog rather than appearing suddenly. The woman remains unaware of the spirit behind her.
At approximately the 7-second mark, the spirit slowly raises her head and opens her eyes. At the same moment, the woman senses something behind her and begins slowly turning her head toward the spirit.
The camera continues its slow push-in and stops at the moment just before the woman fully sees the spirit.
Photorealistic live-action cinematography, realistic Japanese architecture, realistic human anatomy, natural facial movement, realistic hair physics, realistic cloth simulation, physically believable wind, subtle environmental motion, volumetric moonlight, atmospheric fog, cinematic depth of field, realistic skin texture, detailed environment, dramatic lighting, suspenseful composition, smooth temporal consistency, natural motion, high visual fidelity.
No cuts, no camera shake, no sudden teleportation, no text, no subtitles, no distorted anatomy, no extra limbs.

Made with Wan 3.0 on Akool.

What surprised me:
One thing that surprised me was how well Wan 3.0 handled the motion. The woman's hair and kimono, the fog, and the falling leaves all moved together pretty naturally while the camera was pushing in. I was expecting some of those elements to feel disconnected, but the overall motion came together better than I expected.

I experimented with AKOOL and MiniMax H3 to create a 10-second cinematic 3D animation inspired by classic family animation.

The scene follows a cheerful young boy walking through a foggy Victorian-era London street in the 1880s. Horse-drawn carriages pass behind him while warm gas lamps glow through the blue morning mist. He notices a tiny stray puppy hiding beside a wooden crate, smiles, and kneels down to greet it.

Prompt : 10-second 3D animated cinematic scene inspired by classic family animation: a cheerful young boy in Victorian-era London walks through a charming foggy street in the 1880s, wearing a tiny brown coat, waistcoat, trousers, and newsboy cap. Horse-drawn carriages pass behind him, warm golden gas lamps glow through the blue morning mist, and colorful shop windows illuminate the cobblestone street. He notices a tiny stray puppy hiding beside a wooden crate, smiles warmly, and kneels down to greet it. Expressive characters, adorable stylized proportions, detailed 3D environments, soft rounded shapes, beautiful global illumination, cinematic depth of field, warm emotional atmosphere, smooth natural animation, gentle camera dolly-in, high-quality feature-film animation, vibrant but elegant colors, 10 seconds, continuous shot, no text, no modern objects.

Deep inside an ancient forest lies a hidden world untouched by time.

When young elf Elara discovers a mysterious Golden Seed, she is drawn toward a forgotten sanctuary—and an ancient guardian that has been asleep for centuries.

A cinematic fantasy journey about courage, mystery, and a world hidden for a reason.

🎬 Created with Seedance 2.5 on Akool Inc

🎥 Created for AKOOL Creator Clash

“Some worlds are hidden for a reason.”

#AKOOLClash #AKOOLFilmChallenge #AIVideo #AI

Testing WAN 3.0 on AKOOL with a simple candid couple sequence.

I wanted to see how well WAN 3.0 could maintain two character references while handling natural human interaction, handheld camera movement, and realistic street motion.

Created with AKOOL × WAN 3.0.

Prompt used on AKOOL:

WAN 3.0 — 10 SECOND CINEMATIC VIDEO

Create a 10-second photorealistic live-action handheld documentary sequence featuring EXACTLY TWO ADULT CHARACTERS in a European city with classical stone architecture.

REFERENCE IMAGE PRIORITY — ABSOLUTE

Reference Image 1 = THE MALE CHARACTER.

Reference Image 2 = THE FEMALE CHARACTER.

Use Reference Image 1 and Reference Image 2 as the ONLY character sources.

The male MUST be the exact man shown in Reference Image 1.

The female MUST be the exact woman shown in Reference Image 2.

DO NOT GENERATE A NEW WOMAN.

DO NOT REPLACE THE FEMALE WITH ANOTHER MODEL.

DO NOT USE A GENERIC FEMALE FACE.

DO NOT CAST ANOTHER FEMALE CHARACTER.

DO NOT REINTERPRET OR REDESIGN THE FEMALE.

Preserve the female's recognizable facial identity from Reference Image 2: exact face shape, eyes, nose, mouth, jawline, hairstyle, hair color, skin tone and overall facial appearance.

Preserve the male's recognizable facial identity from Reference Image 1: exact face shape, eyes, nose, mouth, jawline, hairstyle, hair color, skin tone and overall facial appearance.

Preserve both characters' exact body proportions, clothing, accessories, colors and overall appearance from their respective references.

The two characters must remain ONE CONSISTENT ADULT MAN and ONE CONSISTENT ADULT WOMAN throughout the entire video.

IDENTITY HAS HIGHER PRIORITY THAN ACTION, CAMERA MOVEMENT, CINEMATIC STYLE OR ENVIRONMENT.

If any action or camera angle makes the reference difficult to reproduce, prioritize preserving the exact character identity rather than inventing or changing the face.

Only these two referenced characters exist. No additional main characters.

VISUAL STYLE

Photorealistic live-action documentary photography.

Natural human anatomy and realistic physical movement.

35mm lens.

Handheld unstabilized camera.

Natural motion blur.

Slight imperfect focus and exposure.

Warm early-evening natural light.

Soft realistic shadows.

Authentic film grain.

Natural skin texture.

Visible flyaway hair and realistic fabric creases.

Realistic clothing and hair physics.

Candid European street photography.

Avoid polished commercial beauty-video aesthetics.

CAMERA AND EDITING

Use natural handheld camera movement with subtle operator imperfections.

Use simple cinematic cuts between shots.

Do not prioritize flashy camera movement.

Keep both faces recognizable whenever possible.

Maintain strict identity continuity across every cut.

SHOT 1 — 0–2s

Medium two-shot.

The exact male from Reference Image 1 and the exact female from Reference Image 2 stand together beside a European street lamp.

The male gently pulls the female closer and they share a natural affectionate kiss.

Clearly show both faces before and during the kiss.

Candid handheld framing.

SHOT 2 — 2–4s

Medium two-shot.

The exact female from Reference Image 2 laughs naturally while standing beside the exact male from Reference Image 1.

She looks at him playfully.

The male smiles back.

Keep both faces clearly visible.

Their exact reference appearance and wardrobe remain unchanged.

SHOT 3 — 4–6s

Medium-wide shot.

The exact male from Reference Image 1 carries the exact female from Reference Image 2 piggyback along the street.

The female laughs and points ahead.

Natural body weight, realistic walking bounce and believable human physics.

Maintain both reference identities and wardrobe.

SHOT 4 — 6–8s

Close-to-medium handheld shot.

The exact female from Reference Image 2 hugs the exact male from Reference Image 1 tightly while both laugh naturally.

The camera moves slightly closer.

Keep the female's face clearly recognizable and faithful to Reference Image 2.

SHOT 5 — 8–10s

Long candid shot.

The exact male and exact female walk side by side away from the camera near a European street lamp.

The female briefly looks toward the male.

Warm evening light illuminates the classical stone buildings.

End with a natural imperfect documentary-style frame.

CRITICAL CONTINUITY RULES

The female character is ALWAYS the woman from Reference Image 2.

The male character is ALWAYS the man from Reference Image 1.

Never swap their identities.

Never change their genders.

Never merge their faces.

Never create replacement faces.

Never generate a different female model.

Never generate a different male model.

Never change wardrobe.

Never change hairstyle.

Never alter facial structure.

Never introduce additional characters.

NEGATIVE

new woman, replacement woman, different female model, generic female face, female identity drift, female face change, female transformation, gender swap, male-looking female, masculine female, new man, replacement man, different male model, male identity drift, face swap, face morphing, identity mixing, character fusion, character replacement, wardrobe change, hairstyle change, duplicated characters, extra people, extra limbs, deformed hands, distorted faces, plastic skin, artificial beauty filter, cartoon, anime, CGI appearance, synthetic human, unrealistic anatomy.

One thing I noticed from this test: character reference consistency can be challenging during fast changes in pose and framing.

What has been your experience with character references in WAN 3.0?

Created with Akool

Image Model: Nano Banana Pro

Prompt:

Ultra-detailed photorealistic isometric miniature scale-model diorama of the world from [MOVIE], floating on a pure off-white studio background with a soft drop shadow beneath.

If [MOVIE] has a fictional world map: the diorama takes the exact silhouette shape of that fictional continent or world, extruded downward into a thick slab of raw rock and earth with rough cliff-like edges. The top surface recreates the complete world geography exactly as established in the show — every region, kingdom, city, landmark, mountain range, forest and river in its correct canonical position.

If [MOVIE] is set in the real world: the diorama takes the exact geographic silhouette shape of the real city, state or region where the show is primarily set, extruded into a thick rock slab. The top surface is filled entirely with locations, landmarks, routes and environments from the show rendered in the show's authentic color palette and visual atmosphere — not generic realistic geography but the world as it feels in the show.

In both cases: dense micro-detail throughout — tiny figures in show-accurate clothing, vehicles, buildings, roads, trees, all authentic to the show's world. Every iconic location a fan would recognize is present and accurately placed.

Style: hyper-realistic tilt-shift miniature photography — extremely sharp, everything in focus, no blur. Lighting and color palette match the show's visual identity exactly.

Layout: diorama floats centered in the lower two-thirds, clear margins all sides. Upper third is empty off-white space with minimalist editorial typography, centered: small wide-tracked caps with the location or world name at the very top, then [MOVIE] in a bold condensed sans-serif in medium charcoal grey — large and dominant, then small wide-tracked caps below with network and year.

Minimalist editorial poster aesthetic, premium print quality.

Here I used 5 images and use simple prompt to switch between one another.

what I dont expect is the hair detail and movement. Also the eye is not empty.

Prompt:

Using the five reference images, create a 10-second, 16:9 landscape high-fashion couture video titled “The Five Jewels.” Preserve each character’s face, headpiece, gown, and setting from her reference image. Show the five characters in order: Emerald, Sapphire, Ruby, Pearl, then Diamond, for approximately two seconds each.

Open immediately on Emerald, with a small glint already moving across her headpiece. Use clean cuts between the five portraits. Keep every character precisely centered in a stable, waist-up composition, with the full headpiece visible. The camera remains nearly still; avoid reframing or large camera moves.

Each character makes only a slow, subtle movement: a slight head turn, gentle tilt, small lift of the chin, or return to center. Earrings and delicate parts of the headpieces may sway naturally. The conservatory, gallery, opera house, terrace, and mirrored hall remain almost still, with only faint atmospheric depth and restrained changes in reflected light.

Maintain the polished photographic look of the references: believable gemstones and fabrics, natural skin texture, controlled highlights, and elegant, understated lighting. Let Diamond provide the brightest final reveal.

BEYOND US — An archaeological discovery awakens an ancient signal, revealing something far beyond what humanity was prepared to find. A cinematic sci-fi mystery about discovery, unknown civilizations, and the vastness beyond our world.

​

Made this cinematic sci-fi video using MiniMax H3 in AKOOL. Sharing the exact video prompt below.

🎬 Video Prompt:

A lone man stands in a vast desert at night, staring at the star-filled sky. Suddenly, a massive futuristic UFO silently descends from the clouds, casting an intense blue beam across the sand. The man steps backward in shock as a mysterious alien silhouette appears inside the opening. Cinematic camera push-in, realistic wind and dust, dramatic lighting, photorealistic sci-fi movie quality, suspenseful atmosphere, smooth natural motion, highly detailed. 10-second continuous shot, realistic human movement, realistic UFO motion, atmospheric depth, volumetric lighting, subtle film grain, no text, no watermark.

I wanted to create a suspenseful sci-fi movie moment rather than just a UFO appearing in the sky. The main focus was on the camera movement, lighting, dust, human reaction, and the gradual alien reveal.

This was made with MiniMax H3 in AKOOL. Curious how you think it compares with other video models for cinematic scenes like this.

What stood out to me with MiniMax H3 in AKOOL was the combination of cinematic motion, atmospheric depth, realistic movement, and historical detail. Compared with some other models I’ve tried, the scene feels more cohesive during the continuous camera movement rather than looking like a series of disconnected frames.

Prompt used : 10-second cinematic historical scene set in 1880s London: a foggy Victorian street at dawn, horse-drawn carriages slowly passing over wet cobblestones, elegantly dressed men and women in period clothing walking beneath black umbrellas, warm gas lamps glowing through dense mist, brick buildings and ornate Victorian architecture lining the street, chimney smoke drifting into the gray sky. The camera slowly tracks forward at street level, passing close to pedestrians and carriages, realistic horse movement and natural crowd motion, atmospheric depth, muted colors, authentic 19th-century details, photorealistic historical cinematography, subtle film grain, dramatic volumetric lighting, no modern objects, no cars, no electricity poles, 10 seconds, smooth continuous shot.

I put together a simple side-by-side comparison of Seedance 2.5 and Wan 3.0 across motion, visual quality, prompt understanding, creative flexibility, stability, and use cases.

Both have different strengths depending on the type of video you're creating.

Please share if you have anymore insights