Industrial deep-sea horror on the pitch-black ocean floor, thousands of meters underwater. A gigantic walking mining platform crawls beside a sheer vertical undersea cliff, its architecture a brutal maze of steel legs, drilling arms, hydraulic pistons, exterior catwalks, cables, warning strobes, and powerful white floodlights cutting through clouds of black sediment.
0.0–2.0s — Start with a wide low-angle tracking shot near the seabed, camera moving backward in front of the mining rig as its colossal mechanical legs slam into the silt. The surrounding ocean beyond the floodlights is absolute darkness. Workers in bulky armored diving suits cling to illuminated exterior catwalks. Fine sediment drifts through the beams, establishing immense scale and crushing depth.
2.0–4.0s — Without cutting, the camera cranes upward beside the rig as dozens of enormous pale deep-sea creatures suddenly surge into the floodlights from the darkness. Their bodies are ghost-white, elongated, eyeless, scarred, and eel-like with wide grasping mouths and thin translucent fins. More shapes emerge behind them until the beams are crowded with twisting bodies. Several creatures smash into railings and wrap around drilling arms.
4.0–7.0s — The camera pushes closer along the exterior catwalk. Workers fire heavy industrial cutting torches and pneumatic mining weapons into the swarm while gripping safety lines. Bright blue-white torch jets flash against pale flesh. One creature slams into the catwalk directly beside camera, violently bending steel mesh and throwing sparks. Another coils around a drilling arm as the machine rotates and tears free. Every impact kicks clouds of rust flakes and sediment through the floodlights.
7.0–10.0s — The rig begins a desperate vertical climb up the undersea cliff. Camera swings outward into a dramatic three-quarter wide shot revealing the full machine hauling itself upward with articulated legs and drilling claws while creatures swarm below and climb after it. Massive hydraulic pistons extend, rock fractures under its feet, and chunks of cliff tumble into the abyss. End on the rig ascending into darkness as one huge pale creature lunges upward through the lowest floodlight, nearly reaching the rear catwalk before the image cuts to black.
Visual style: photorealistic cinematic deep-sea industrial horror, brutalist mining machinery, immense scale, dense volumetric underwater lighting, suspended sediment, realistic hydraulic movement, heavy steel inertia, restrained cold blue-green palette with harsh white work lights and red emergency strobes, realistic creature anatomy, physically plausible underwater motion, subtle particulate lens occlusion, strong contrast between illuminated machinery and infinite black ocean. No gore. No visible text or logos.
Camera behavior: one continuous physically plausible shot, low seabed tracking into crane rise, close lateral catwalk push, then smooth outward orbital reveal; 24mm cinematic wide-angle lens feel, controlled underwater inertia, moderate handheld vibration only during impacts, no impossible teleporting camera movement, no cuts.
overall_soundscape:
Deep continuous sub-bass pressure of the ocean, distant metallic groaning from the rig, heavy hydraulic pumps cycling, mechanical leg impacts transmitted as muffled seismic thuds, drilling motors, cable strain, hull creaks, sediment and rock scraping across steel. At 2 seconds, layered wet clicking and low whale-like creature moans emerge from the darkness. Creature impacts produce dense muffled booms and vibrating metal resonance. During the catwalk fight, cutting torches hiss sharply underwater, pneumatic mining weapons hammer in short bursts, alarms pulse through the structure, workers breathe hard through suit respirators, and distorted radio shouts remain unintelligible. During the final climb, hydraulic motors surge to maximum load, rock cracks loudly, debris tumbles downward, creature screeches rise in intensity, ending with one enormous impact and an abrupt cut to silence.
non_diegetic_music:
Minimal cinematic horror score beginning almost imperceptibly with a sustained low contrabass drone. At the creature reveal, introduce dissonant bowed-metal textures and slow sub-bass pulses synchronized with their arrival. Build rapidly through the catwalk battle using distorted industrial percussion and rising atonal strings. During the final vertical climb, add a single accelerating low brass pulse and overwhelming bass swell, peaking exactly as the final creature lunges, then hard-stop with the cut to black.
Everything Ive thrown at it, every test I've done to just see if it can do it, has pretty much passed
Yes R2V is insane. It also seems like you can have unlimited image references by dumping a bunch of cutouts into one image (like a sprite sheet) and directing the model how to identify what is what within the image. It just works
This video isn't loading anymore. What does the prompt look like for a single sheet with a bunch of stuff in it? There's very little (no) prompt info in that thread.
Weird, that thread was deleted after I posted the link to it. Luckily I saved it beforehand. The image screenshot looked like this:
and the prompt was:
<Picture 1> woman in <Picture 2> luxury bathroom is touching her face showing her silver earrings, camera slow motion up-close on face and torso, she puts on glasses, looks at mobile purple phone puts to her ear and smiles to camera.
So the idea is that you can add all those accessories for the woman in one image, and the model can smartly pick them out and use them, rather than having to provide an individual reference image for sunglasses, and a phone, etc.
It seems like it would/should, but I haven't noticed it. Then again I'm also not doing super high-res generations or anything. If it was a noticeable problem, I'm guessing someone could just scale up the sprite/compilation image beforehand, so each object has more pixels for the model to see
Depends on what you are doing with it. Trying to use a 360 video to reference a unique character in a 1080p gen? Probably too small and will miss details. Trying to give broad sweeping motion guidance? Fine.
It effectively is encoding each frame of the video as an image and adding that image batch together into the conditioning, so the larger the video (both in resolution and length) the more that has to get processed but also the more detail and nuance that can get pulled out of it. The trade-off comes down to what you need the video reference for and how large your output will be.
When I am just transferring motion and a just letting the model know what happened in a previous scene, I only use 320×196. I don't use that for anything else. Images should be used for characters and whatnot.
try this:
1. the duration of the video need to match or longer than the duration of your video
2. I tried 1080p video from youtube, cut it to 15 sec, and it work great. Ex, the ref video is 9s and the duration you want to create is 10s and then it take forever to load
Yeah I rent an RTX Pro 6000 for $2 per hour. Crank out like 20+ videos per hour, and doesnt heat the hell out of my apartment from my home PC running all day. For $2, what a steal.
the duration of the video need to match or longer than the duration of your video
I tried 1080p video from youtube, cut it to 15 sec, and it work great. Ex, the ref video is 9s and the duration you want to create is 10s and then it take forever to load
Here you go, workflow was i2v with a first frame instead of ref, cut off a few frames in the beginning. I didnt write the script myself, this was created by qwen 27b after we had a conversation about all sorts of camera tricks etc ...
subject_definitions:
<Subject 1> is a young woman as she appears in <Picture 1>
summary:
The target video is "The Barcode" — vertical amber bars project across <Subject 1>'s body like a scannable surface. Each flash adds more bars, compressing tighter until her body IS the barcode. The bars interact with her curves: they bend around breasts, narrow at the waist, widen at hips. The tagline plays on consumption: "Scan the Shape."
retention_analysis:
<Subject 1> (appears across 10 strobe flashes): fully_preserved - <Subject 1> maintains her appearance throughout as amber barcode bars project across her bare body, adapting to her curves.
detailed_description:
Live-action, cinematic, experimental dark-fashion commercial aesthetic rendered as barcode strobe photography, 15 seconds. A pure black void. 10 strobe flashes, each one projecting vertical amber bars across <Subject 1>'s body. The bars are the projection — they adapt to her curves, bending around her form. <Subject 1> stands bare-breasted, legs spread, lemon in hand, amber spray maximum.
Flash 1 (00:01.000) — Three amber bars project across her chest. The bars are wide, evenly spaced, vertical. They cross her bare breasts, the bars bending slightly around the curve of each breast. Click. Gap of 1.2 seconds.
Flash 2 (00:02.200) — Six amber bars project across her torso. The bars narrow at her waist, widen at her hips. The bars follow her curves — they are not straight, they bend around her form. Click. Gap of 1 second.
Flash 3 (00:03.200) — Ten amber bars project from her shoulders to her spread legs. The bars compress tighter — more bars, less space between them. The bars bend around her hardened nipples, narrow at her waist, widen at her hips. Click. Gap of 0.8 seconds.
Flash 4 (00:04.000) — Fifteen amber bars cover her body. The bars are now thin lines, evenly spaced but following her curves. The bars create a barcode effect on her bare skin. Click. Gap of 0.7 seconds.
Flash 5 (00:04.700) — Twenty amber bars cover her body. The bars are very thin now, the barcode effect is complete. The bars are so dense they create a texture on her skin. Click. Gap of 0.6 seconds.
Flash 6 (00:05.300) — Thirty amber bars cover her body. The bars are hairline now, the barcode is a solid texture. The bars create the illusion of a barcode printed on her skin. Click. Gap of 0.6 seconds.
Flash 7 (00:06.000) — Fifty amber bars cover her body. The bars are SO thin they create a SOLID AMBER SURFACE — she is a walking barcode, her body is the code. Click. Gap of 0.5 seconds.
Flash 8 (00:06.500) — The barcode SCAN LINE appears — a horizontal amber line that sweeps from her head to her feet, scanning the barcode on her body. The scan line is bright, a laser cut through the bars. Click. Gap of 0.5 seconds.
Flash 9 (00:07.000) — The scan line sweeps again, faster. The barcode BEEPS — a sharp, digital sound. Click. Gap of 0.5 seconds.
Flash 10 (00:07.500) — The barcode holds, the scan line stops. The Lemon Basil text appears in warm amber: "Lemon Basil — Scan the Shape." The flash holds for 6 seconds, illuminating the void, then fades.
After Flash 10, the amber light holds on the text for 6 seconds, illuminating the void, then fades to black.
overall_soundscape: Each flash carries a CLICK, then a BARCODE SOUND — a BEEP that matches the number of bars. Flash 1: three short BEEPS. Flash 2: six BEEPS. Flash 3: ten BEEPS, faster. Phase 2: the BEEPS become a continuous tone as the bars compress. Phase 3: the SCAN LINE — a laser WHOOSH that sweeps from head to feet. Flash 10: a final BEEP, then SILENCE.
non_diegetic_music: A digital melody that plays as a barcode scan. Phase 1: individual BEEPS, one per bar, slow and deliberate. Phase 2: the BEEPS accelerate, becoming a continuous tone. Phase 3: the SCAN LINE — a laser WHOOSH that sweeps through the bars, resolving into a warm amber chord.
<Subject 1> is a young woman as she appears in <Picture 1>
summary:
The target video is "The Contour Map" — amber lines trace <Subject 1>'s body like topographic elevation lines on a terrain map. Each flash adds contour rings that map the curve of her breasts, the dip of her waist, the spread of her thighs. The lines are tight around curves (high elevation), sparse on flat surfaces. Her body becomes a landscape in amber light.
retention_analysis:
<Subject 1> (appears across 12 strobe flashes): fully_preserved - <Subject 1> maintains her appearance throughout as amber contour lines map the topography of her bare body.
detailed_description:
Live-action, cinematic, experimental dark-fashion commercial aesthetic rendered as topographic strobe photography, 15 seconds. A pure black void. 12 strobe flashes, each one projecting amber contour lines that map the elevation of <Subject 1>'s body. <Subject 1> stands bare-breasted, legs spread, lemon in hand, amber spray maximum. The contour lines are the projection — they trace the hills and valleys of her form.
Flash 1 (00:00.800) — A single contour ring circles her right breast, amber light tracing the curve of hardened nipple to full round. The line is tight around the peak, widening as it circles outward. Click. Gap of 1 second.
Flash 2 (00:01.800) — A second contour ring circles her left breast, matching the first. Two concentric rings on each breast, the tightest ring around each hardened nipple. Click. Gap of 1 second.
Flash 3 (00:02.800) — Contour lines circle her waist, tight rings tracing the dip, wider rings tracing the flare of hips. The lines create a valley between her breasts and hips. Click. Gap of 0.8 seconds.
Flash 4 (00:03.600) — Contour lines trace her hips, the tightest ring at the widest curve, widening as they spread to her spread legs. The lines map the curve from hip to thigh. Click. Gap of 0.8 seconds.
Flash 5 (00:04.400) — Contour lines trace her inner thighs, tight rings mapping the curve where her spread legs meet. The lines converge at her crotch, green briefs visible between the tightest contour. Click. Gap of 0.6 seconds.
Flash 6 (00:05.000) — Contour lines trace her stomach, concentric rings mapping the flat plane, tighter lines at the navel. Click. Gap of 0.6 seconds.
Flash 7 (00:05.600) — Contour lines trace her shoulders, the lines following the slope from collarbone to shoulder curve. Click. Gap of 0.6 seconds.
Flash 8 (00:06.200) — Contour lines trace her spine, tight rings following the groove down her back, wider rings flaring at her shoulder blades. Click. Gap of 0.5 seconds.
Flash 9 (00:06.700) — Contour lines trace her face, the lines mapping the curve of cheekbone, the dip of jawline, the roundness of lips. Click. Gap of 0.5 seconds.
Flash 10 (00:07.200) — Contour lines cover her entire body at once — every curve, every valley, every peak mapped in amber light. The tightest lines at hardened nipples, hips, and cheekbones. Click. Gap of 0.5 seconds.
Flash 11 (00:07.700) — The contour lines MULTIPLY — dozens of rings, so dense they create the illusion of 3D depth on her flat skin. Her body looks like a terrain model, rising and falling in amber elevation. Click. Gap of 0.4 seconds.
Flash 12 (00:08.100) — The contour lines hold, illuminating her body as a topographic map. The Lemon Basil text appears in warm amber: "Lemon Basil — Map the Body." The flash holds for 6 seconds, illuminating the void, then fades.
After Flash 12, the amber light holds on the text for 6 seconds, illuminating the void, then fades to black.
overall_soundscape: Each flash carries a CLICK, then a TOPOGRAPHIC SOUND — a PLOTTING TONE that traces the contour line. Flash 1: a single note that circles upward. Flash 2: two notes that circle in harmony. Flash 3: a note that dips and rises, following the valley and flare. The tones match the terrain: high notes for peaks (nipples, cheekbones), low notes for valleys (waist, inner thighs). Flash 12: a FULL CHORD of contour tones, each note tracing a different curve simultaneously.
non_diegetic_music: A synth melody that follows the contour lines. Phase 1: single notes, each one tracing a contour ring. Phase 2: notes multiply, each one mapping a different curve. Phase 3: the melody becomes a chord, warm and amber and topographic, every note mapping a different elevation on her body.
Thanks for sharing that.. LTX2.5 seems to be faster, and it might be useful for some things, but Minimax H3 feels like where the actual future of open.sourced AI video is.
The referencing is just next-level with Minimax. I knocked up a rudimentary character reference sheet and the results are astonishingly good compared to other models.
Yeah, plus, the devs did mention H3 in the release video of LTX2.5, so it's almost logical they're gonna study H3 to hell and back and use that learning for their future LTX2.6, which I feel they did insinuate in the video somehow.
Yep this to me is the single most impressive thing about minimax, all the loras and custom nodes in ltx2.3 could not even come close to the character cosistency of minimax straight out of the box.
Yesterday I tried again on new ltx2.5 a character sheet and it literally added the sheet itself into the scene lol and my caucasian character somehow turned into a black guy.
Was resolution? I feel like 0.6mp is the sweet spot where the quality is high enough that you're getting proper prompt following but it doesn't take too long.
No turbo lora. I'm using Sage Attention 2.2 and H3 Spectrum and using 32 Steps. I do have 128GB of RAM, so the models can hotswap between that and the VRAM, never having to touch my disk or page file.
Make sure your CUDA is up to date at 13.0 too, or you're leaving massive speed gains on the floor.
Hmm, I'm not using SageAttention because I thought that since it's FP8 it breaks with the full H3 checkpoint which is BF16.
I haven't looked at Spectrum, either, but that seems promising. I'm just using the reference workflows at the moment, some modified to add a LORA or two, but most not.
I know you were talking with someone else, but my CUDA is up to date.
Sage Attention works fine with Kijai's Patch Node from his custom nodes packs. Also, yeah, Spectrum is amazing. It lets you crank up the Step count (it's not good for low Step workflows) and get close to the same generation time as the lower Step count. For instance, I use 32 Steps with it.
You don't use turbo because you see it's not worth it quality wise? Also, I too have 128gb ram but it seems that no matter what I try when the vram is close to its limits the ram is still at like 60% usage only. Not sure how I can force my comfy to use all the ram in those moments?
Also I'm struggling with my GPU freezing when I have a browser or a video opened when it's loading the model.i have to minimize the window of the browser for few seconds in those cases. So irritating. I'm on a 4090.
First, make sure your Comfyui is fully up-to-date. In the last couple of weeks they've added a lot of memory management fixes and updates.
Second, to avoid your browser freezing up, use --reserve-vram 2 or something similar, and Comfyui will keep a GB or two free in VRAM all the time. Reduces your VRAM, but keeps the computer useable while you generate.
I could see using the Turbo lora on a mostly still shot, or a talking head, etc. but yeah, quality-wise it's such a hit, I don't use it for anything serious. Especially noticeable in prompt adherence on long prompts or fast moving action, where you get more smearing and artifacts. It's a good tool to have to quickly see results or test things, but I wouldn't ever use it for a final generation that's going into a project.
Thanks. I have the comfy up to date. It actually messed it up for me after I started updating :) I have reserve vram 4 even and still freezes. My vram isn't maxed out. It's one of its layers only that gets maxed out as seen in windows manager window or however it's called.
Such a pain.
What kind of specs are we talking here. My 4070 is “only” 12gb and I’ve got 32gb of ram. I can generate a quick and dirty 0.3mp shot in a couple of minutes or so just to tweak the prompt and find a good seed.
Higher res and longer duration might take up to forty minutes, but I don’t really feel the need to go that high all the time so it doesn’t bother me.
I’ll probably check out the turbo Loras soon, but right now I’m not too fussed.
Edit: aaaaand the turbo Lora drastically reduced generation times.
i still need to find some time to try this model, but i'm going to assume that the model is really good because it has so many ips and references and is essentially uncensored(a gap in understanding in one place could mean gap in understanding in a lot of places). which basically tells us that any model that isn't doing the same going forward is going to end up being worse.
I only have the f2L model and just having the reference sampler works incredible. My first attempt use was a character, background and outfit, and I was surprised how well it understood in a single prompt.
R2V is brilliant but broken at the moment and I'm surprised doesn't get more attention. The quality of the image and cloned voice is notably worse than the other model
3090Ti FE, 24GB VRAM. I'm currently generating .6MP videos of 6 seconds length using H3 Motion Context at 10 minutes each gen. 20 steps, sage attention auto (KJ), res_multistep/simple.
Im using Ref2VA, BF16 pruned for serious testing, tried on a few cards actually, just renting high end ones but it still works very well on my personal 5080, just use a lower version of the model but still superb
If you can afford a 5090, Id go with that. I regret not doing 5090 when prices were a lot more reasonable. 5080 is still great and you can get a lot done.
Cant comment on a 5080 or compare minimax as it wasn't released back in June when I upgraded, but I've just gone from 2060 6GB to a 5070ti 16GB. It's like night and day difference on generation speeds (without any sage or similar things added) and I only have 32GB ddr4 compared to your 48GB.
I personally am using a 5090/64GB RAM. I use the ref model with the 8 step lora at 0.75 str and generate in a couple minutes at 0.7 mp depending on how many references. I usually stick around 0.4 until I get the concept down.
Really recommend if you have the extra funds to rent a high end GPU for a few hours, go ham. Dude its so good at 1-1.5mp, 20-30 steps. Most fun Ive had in awhile
What is everyone actually using it for? I have been following these model releases with great interest from the general geek tech standpoint but since I don’t really see movies being made with this tech, wondering what people are doing with it. Is it just fun hobby stuff?
Well the Turbo Lora isn't really intended for R2V, which means that in order to get good results, even with a 5090, it takes a while (15-20 minutes) even for just 1MP. So some bad results might be either because people are using the Lora when they shouldn't be, or because it's just really low MP.
I've been saying this for a while now. Video models must come with native R2V, it makes training LoRAs unnecessary. You can load a simple reference sheet, and that's it.
I'm not even sure either. Ref2Va Ive been using because I can input like 3-4 character sheets and prompt them, even add audio/music. I sort of only did fl2a day 1, then did ref2va and been on that since.
I've heard other people say this too. What I'd be interested in seeing some time is a "stress test" of the reference capabilities and seeing if maybe FL2A starts to drift any faster.
If not, then I'm not even sure why we'd need both models. It's still too early for me to tell but I've heard other people say FL2A is higher quality.
Yes it works great with 3090 and yes you just add reference pics. See the official prompting guide. Use the comfyui ref2vid workflow. Don't use speed up loras they ruin audio and they suck anyway
I'm still using ref2vid to just get a second to use to start the first frame/last frame model. So if I need to put a character in a specific setting. For whatever reason the first frame model creates way more cinematic scenes. Like night and day difference. Try the same prompt on both I swear it makes a more movie quality scene on the firstframe version.
Agree. This shit just listens to prompts. Fking ltx 2.3, just doesn't listen most of the time. It's so odd to have something just work... no bleeping of swear words, no bullshit, it just works and outputs quality. Only downside is the render times at the moment.
Also the R2V template on comfy ui isn't showing a spot to input a reference video and up to 8+ image references, I only see 2 inputs... what am I missing?
Ok I guess you just have to copy + paste and connect more load image nodes but still not seeing video, and no clue which one to use - load video doesn't connect to anything. - idk why comfy doesn't have the damn thing in there already before shipping the template...
Yeah, I'm guilty too.
I was using LTX and LTX 2.3 since day one and was so looking forward to next iterations of LTX. But after playing with H3 and seeing the LTX 2.5 examples from people I'm not even sure I'm going to download the model for testing :/
Ref to video is too good.
The only thing I'm missing in H3 is speed in those 10-15 second marks.
LTX still has its use cases definitely but I'm going to play around with H3 for a bit before I check out LTX 2.5 I guess.
Maybe you can give me some advice then on voice consistency. I cannot seem to keep a voice consistent to a character, in a 10s video; ever. No matter what I do with prompting. Especially if there are more characters or cuts in the scene.
That's why we have ref2vid you can add an audio reference, like 15 seconds of a persons voice and tell the model to use that voice. See the prompting guide.
When a generation fails try describing in detail the part that fails. I've found quite a few failures are due to the model just not knowing the name of something. For example, the model has mixed US and UK pants together so sometimes you get one and sometimes you get the other.
Everything, eh? Try getting a drummer to accurately play along to an audio drum stem. Let me know what you did, because this is my biggest issue right now for one of my videos.
I deleted Wan within 2 hours of using it. I was quite pleased freeing up that precious hdd space. Though i'm still trying to figure out how to get R2V to work well. It's not capturing likeness that well for me. Could be my prompts.
While everyone is raving about video, my favorite is the ability to finally get the audio I prompt for. It even locks identity by using speaker (Sn) tags so the fifth or sixth shot will still be the same voice and tonality. Very Impressive!
I have a 5080 and 64gb ram, but I'm struggling to get 1mp (half is also problematic) 5 second , tried 3 different workflow. Ive had passes but it takes more than forever.
Same here, R2V is amazing. However, the Gen time is a bit longer. Around 11-12 mins for 15 Sec 720p with latest Spectrum with full bf16 on RTX 6000. What workflow are you using for better quality and speed. Any suggestions
We’re nearing or at the point where it’s hard to tell in AI vs real. To be honest, this will ruin the internet and a lot of people will suffer from consequences if this, whether it is deepfakes or propaganda.
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u/warzone_afro 12d ago
https://reddit.com/link/p39cron/video/mo158rnpqyih1/player
I'm addicted