base-en.txt

base-en.txt

Video Prompt Writing Guide (T2VA / I2VA / FL2VA / L2VA)

1. Task Overview

• T2VA: Builds a complete audiovisual timeline from text.

  根据文本构建完整的视听时间线。

• I2VA: T2VA body + first-frame instruction + a visual path that develops forward from the first frame.

  T2VA 主体结构 + 首帧指令 + 从首帧开始向后发展的视觉演变路径。

• FL2VA: T2VA body + first-and-last-frame instruction + a continuous path from the first frame to the last frame.

  T2VA 主体结构 + 首尾帧指令 + 从首帧连续过渡到尾帧的视觉演变路径。

• L2VA: T2VA body + last-frame instruction + a path that converges from a plausible preceding state to the last frame. T2VA 主体结构 + 尾帧指令 + 从合理的前置状态逐步过渡并最终收敛到尾帧的视觉演变路径。

2. Final Prompt Structure

2.1 Part One Is the Instruction

T2VA has no image-alignment instruction and begins directly with the three core fields.

I2VA always uses (始终使用):

FL2VA always uses (始终使用):

L2VA always uses (始终使用):

Here, N is the index of the actual final shot, and S.SS is the effective video duration formatted to exactly two decimal places.

The instruction must be the first line of the final prompt, followed by one blank line before the core fields.

2.2 Part Two Contains the Three Core Fields

• integrated_multimodal_description: Describes visuals, actions, shots, speakers, dialogue, singing, and diegetic audio along the timeline.

  沿时间线描述画面、动作、镜头、说话者、对话、歌唱以及画面内（diegetic）声音。

• overall_soundscape: Summarizes ambient sound, physical action sounds, and non-verbal human sounds across the entire video.

  概括整个视频中的环境声、物理动作产生的声音，以及非语言类人声。

• non_diegetic_music: Describes background music that the characters cannot hear and only the audience can hear. 描述非画面内（non-diegetic）的背景音乐，即角色无法听到、只有观众能够听到的音乐。

3. How to Incorporate Keyframes into the Multimodal Description

3.1 I2VA: Begin from the Image and Develop Forward

<Picture 1> is the actual first frame of the video at 0.00 seconds and belongs to [Shot 1].

The description should first establish the style, subjects, composition, and scene anchors in the image, then describe the next action.

Character identity, clothing, colors, key objects, and spatial relationships should remain consistent.

Recommended structure: first-frame anchor → action onset → continuous development → result or reaction.

3.2 FL2VA: Describe the Path Between the First and Last Frames

Picture 1 is the opening, and Picture 2 is the ending.

Focus on how the subject moves, how poses change, how objects are manipulated, how the composition evolves, and how the scene or lighting transitions.

FL2VA generally favors a single shot so the model can interpolate continuously from the first frame to the last frame.

Use multiple shots only when they are explicitly specified.

The last frame must be reached by the final [Shot N] at the end of the video.

Recommended structure: first-frame state → observable intermediate changes → progressively narrowing differences → last-frame state.

3.3 L2VA: Infer the Opening and Land on the Image at the End

<Picture 1> is the final frame of the video and belongs to the last [Shot N]; it does not inherently belong to Shot 1.

Infer a plausible earlier state from the user's intent and the last frame, then describe how the characters, objects, camera, and scene gradually approach the reference image.

Recommended structure: plausible preceding state → explicit action and transition path → gradual convergence in the final shot → last-frame landing.

4. How to Write the Three Shared Core Sections

4.1 Develop the Multimodal Description Along the Timeline

integrated_multimodal_description is the main body of the rewritten prompt.

Every detail should correspond to something visible or audible: visual style, initial composition, subject appearance and position, scene and key props, actions and reactions, shot changes, spoken language, and synchronized diegetic sound.

At the beginning of [Shot 1], state the overall style and initial composition. Common styles include Cinematic, live-action, 2D-animated, 3D CG, claymation, watercolor, and vintage film.

For keyframe tasks, derive the style from the reference image; for T2VA, select it from the user's text.

4.2 Shots and Cuts

Do not add a timestamp to the first shot. Use sequential shot numbers for later shots, and begin each one with a strictly increasing cut time that falls within the video duration:

For ordinary cuts, use the camera cuts to, the shot cuts to, the shot transitions to, the shot changes to, or the shot switches to.

When explicitly requested by the user, cross-dissolve, fade, or wipe may also be used.

A cut should introduce new information about the subject, space, state, viewpoint, or time.

If only the distance or a slight angle needs to change, prefer camera motion.

4.3 Camera Motion: Motion Type + Amplitude + Speed

A complete camera-motion expression has three dimensions:

• the motion type defines how the camera moves;

  运动类型（motion type） 定义镜头如何运动

• amplitude defines the range of compositional change;

  幅度（amplitude）定义构图变化的范围

• and speed defines the pacing of that change.

  速度（speed） 定义这一变化的节奏

Add amplitude and speed only when they are meaningful; medium amplitude and normal speed are usually omitted.

Camera motion should be written as a natural English action within the shot, rather than stacked as separate labels at the end of a sentence:

4.4 Speakers, Dialogue, and Singing

Subjects who speak, sing, or produce an off-screen human voice use stable IDs such as (S1) and (S2).

When multiple already-numbered speakers speak or sing together, use a compound ID such as (S1,S2).

A speaker keeps the same ID across shots; characters who never vocalize receive no speaker ID.

When a speaker first appears, provide enough information from the visual and audio context to establish a stable identity, such as character type, age, gender, whether the person is on-screen, pitch, timbre, speaking rate, or accent.

Place the speaker's identifying phrase, ID, action, and delivery outside <d>.

Inside <d>, include only the language tag and the actual user-provided spoken content.

Preserve every original word and punctuation mark verbatim; do not translate or rewrite them.

For voiceover, use the exact phrase says in an off-screen voiceover.

Immediately after every voiceover <d> block, state that the corresponding on-screen character's lips remain closed:

When the same line of dialogue or lyrics crosses a cut, use <scenetrans> at the connecting points in both parts and explicitly state that the audio continues across the cut.

Use <cutoff> when speech is truncated by the end of the video.

Continuity may be expressed with:

• continues seamlessly across the cut

  在切镜过程中无缝延续

• continues uninterrupted into the next shot

  不间断地延续到下一个镜头

• carries over from the previous shot

  从上一个镜头延续过来

• remains audible across the transition.

  在镜头过渡期间始终保持可听

4.5 On-Screen Text

Place any banner, sign, label, subtitle, or neon text that is actually visible on screen in English double quotation marks.

Preserve the original text and punctuation verbatim, without translation.

4.6 overall_soundscape

Use 1–4 English sentences in one continuous paragraph to summarize the ambient sound, physical action sounds, and non-verbal human sounds across the full video, such as wind, rain, traffic, footsteps, fabric movement, impacts, breathing, laughter, or panting.

Dialogue, singing, and diegetic music already belong in the multimodal description and should not be repeated here.

Use N/A only when the user explicitly requests complete silence throughout the video.

4.7 non_diegetic_music

Use 1–3 English sentences to describe background music that the characters cannot hear and only the audience can hear.

Focus on instrumentation, speed, rhythm, and dynamic changes; do not use abstract mood words or explain the emotional function of the score.

Singing, instruments, radio, television, or phone music audible to the characters are diegetic events and should appear in the multimodal description.

Use N/A when there is no non-diegetic music.

5. Cases

Case 1: T2VA

With no reference image, construct the complete timeline directly from the text.

You may add scene, character, action, and sound details that remain consistent with the user's intent.

Case 2: I2VA

Write the first-frame instruction first, then use the subject, composition, and scene in Picture 1 as the starting point of Shot 1 before describing how the scene continues to develop.

首先编写首帧指令，然后以 Picture 1 中的主体、构图和场景作为 [Shot 1] 的起始状态，再描述场景如何继续向后发展。

Case 3: FL2VA

The two images anchor the opening and ending respectively. The body should not repeat two static image descriptions; instead, it should supply the motion path that connects them. The following example is an eight-second single shot.

两张图像分别作为视频的起始帧和结束帧。主体描述不应只是重复描述两张静态图像，而应补充连接二者的连续运动与变化路径。下面的示例是一个 8 秒的单镜头视频。

Case 4: L2VA

The image anchors only the final moment. First establish a compatible earlier state, then let the actions, object states, and composition gradually land on Picture 1 in the final shot. The following example is a six-second single shot.

参考图像只用于锚定视频的最终时刻。首先建立一个与尾帧相符的合理前置状态，然后让动作、物体状态和构图逐步变化，并在最后一个镜头中收敛到 Picture 1 所确定的最终状态。下面的示例是一个 6 秒的单镜头视频。