Wan 3.0 Prime
Up to 5x faster iteration of Wan 3.0. Combine reference images, video, and audio into one clip.
alibaba/wan3.0-video-prime/omni-video
Examples
representative generations · starting points to seed the playground
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A dynamic, surreal music-video sequence that keeps the EXACT look of the source photograph — the mirrored infinity room with a burnt-orange shag-carpet floor, misty pale-green light, and a concrete plinth holding two turntables. Preserve the cool editorial mood, muted palette and fine film grain throughout (Maurizio Cattelan / high-fashion surrealism). The pink-haired man in a white shirt and black tie crouches at the decks and actually DJs: his hand works the vinyl — pushing, scratching and back-cueing the spinning record on the beat — the platters rotate, the crossfader nudges, and he glances up at the lens with a deadpan cool. The second man in the white shirt and striped beanie, records tucked under his arm, walks a steady, rhythmic stride across the carpet — and because the walls are mirrors, his reflection multiplies into an endless procession of identical figures all marching in perfect unison, filling the room to the horizon; the crouched DJ is likewise mirrored into infinity. Cover it as several dynamic shots of this same scene, cut on the beat: a wide establishing shot of the whole mirrored room with the marching reflections; a slow push-in and orbit around the DJ's hands on the vinyl; a low tracking shot gliding alongside the walking man as his infinite doubles keep pace in the mirrors; a punch-in on the deadpan faces; a whip-pan across the reflected crowd. Dynamic but elegant camera — gimbal glides, crane moves, beat-timed cuts; believable reflections and cloth physics, no morphing, no change to wardrobe, faces or the room. Native sound: a hypnotic DJ set — vinyl scratches and back-cues, a deep steady house/breakbeat groove, the soft rhythmic thud of footsteps on carpet, and a faint airy room tone.
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A serene, cinematic fashion film that preserves the EXACT look of the source photograph — the warm hazy daylight, muted film-grain palette, and quiet editorial calm (in the style of a Vogue China / Zhang Kewei story). An East Asian woman with dark hair in a low bun and light freckles sits at a pale-blue roadside bus shelter, wearing a voluminous deep-red tulle gown with a cream shearling coat draped over her shoulders, gazing off to the side. Gentle, understated life: the layers of red tulle and the shearling shift and quiver softly in a light breeze, loose strands of hair drift across her face, she breathes and slowly blinks, then turns her head a touch and lets her gaze settle; wisps of dust move on the warm road. In the background the scene stays alive and in scale — the cyclist rides slowly along the road, and the two horses graze and flick their tails on the verge under the hazy sky. The camera moves with one slow, elegant push-in (or a gentle drift), shallow depth, believable cloth and hair physics. Everything stays photographic, grounded and grainy — no morphing, no change to her pose, wardrobe or the composition. Native sound: soft open-road ambience — a light breeze, distant birdsong, the faint tick of bicycle spokes passing, a horse's quiet snort.