SC 03 · TK 12 · Prompt library
Thirty-one original prompts for Wan 3.0, grouped by use case, each with suggested settings and a note on what to watch for. No fake results: only prompts, settings and honest notes.
Good video prompts read like a shot description from a call sheet, not a paragraph of adjectives. A reliable five-part structure:
Three habits help every time. Draft at 480p for 5 seconds before spending more. Change one thing per iteration so you know what caused the difference. And keep the first sentence for the subject and action, because that is what the model weighs most. Prompts are sent to the model provider when rendering is on, so avoid personal data and anything you do not have the right to use.
The cards below follow this structure. Each one includes a suggested resolution, duration and aspect ratio, and a "watch for" note drawn from the failure modes video models commonly show: warped text, drifting hands, melting crowds, and style fading over longer clips. Costs are in the credit table; a 480p 5 s card costs 30 credits when you render.
Short, clean, slow. Product clips live or die on stable geometry, so keep the camera simple and the lighting deliberate.
A frosted glass perfume bottle standing on wet black slate, a single drop of water sliding down its shoulder. Slow macro push-in, shallow depth of field, warm tungsten key light from the left with a cool blue rim light behind. Soft ambient room tone, one faint glass clink.
Watch for: Label text and logos often warp. Leave the bottle unbranded or add the label in post.
A white leather sneaker rotating slowly on a matte grey turntable against a seamless pale backdrop. Smooth 90-degree orbit around the shoe, studio softbox lighting, crisp shadow under the sole. Quiet motor hum.
Watch for: Check laces and the sole pattern frame by frame; fine repeating detail is the first thing to drift.
Hot water spiralling from a gooseneck kettle onto fresh coffee grounds in a glass dripper, steam rising, a ceramic mug beneath. Close-up, side-on, warm morning window light, wooden counter. Gentle water-pour sound and a quiet kitchen.
Watch for: Liquid physics is the test. Look for the stream staying continuous and the steam rising, not falling.
A steel wristwatch resting on dark green velvet, the second hand sweeping smoothly. Slow lateral dolly along the case, a hard sliver of light catching the bevel. Faint mechanical ticking.
Watch for: Dial text and hand positions can change mid-shot. Use 1080p only once the 480p draft looks right.
A glass dropper releasing a single amber serum droplet that falls in slow motion into a white ceramic dish, ripples spreading outward. Minimal beige set, soft diffused daylight, top-down angle that tilts slightly as it falls.
Watch for: Check that the droplet is one drop, not two, and that the dish keeps its shape.
Establishing shots and mood plates. State the place, the light and the lens feel; leave the story for the edit.
A narrow city street at night after rain, neon signs reflected in the puddles, a lone figure with an umbrella walking away from camera. Slow tracking shot at shoulder height, anamorphic look with soft horizontal flares. Rain patter and distant traffic.
Watch for: Neon signage tends to become gibberish. Keep it out of focus or accept abstract glyphs.
An empty desert highway at dawn, heat haze lifting off the asphalt, a single pickup truck far in the distance driving toward a low orange sun. Static wide shot on a long lens, long shadows, dust drifting across the road. Wind and a faint engine.
Watch for: Telephoto compression is the point: ask for a long lens so the distance reads.
Tall pine trees in thick morning fog, shafts of golden light cutting through the trunks, mist slowly drifting. Gentle crane-up from the forest floor revealing the canopy. Birdsong and a soft breeze.
Watch for: Fog hides errors, which is useful; the risk is a muddy, low-contrast result at 480p.
Dark storm clouds over a grey sea, waves rolling toward a rocky shore, a thin break in the clouds letting one beam of sunlight hit the water. Slow handheld-feeling wide shot. Low rumbling thunder and surf.
Watch for: Wave motion can loop oddly. Pick the best two seconds in the edit.
A rooftop terrace at golden hour overlooking a dense city, string lights switching on, a table with two glasses and a half-read book. Slow push-in, warm backlight, subtle lens bloom. Distant city hum and faint music from a neighbouring balcony.
Watch for: Background crowds are optional. Fewer people means fewer faces to go wrong.
The view from a seat by a train window at night, city lights streaking past as reflections of the carriage interior float on the glass. Locked-off medium shot, cool blue-green colour grade, a warm lamp glowing in the reflection. Rhythmic rail clatter.
Watch for: Reflections are a hard case. Good test of 480p drafts before spending more.
Name the medium (cel animation, watercolour, paper cut-out) and the palette. Style words work best next to one concrete action.
Hand-drawn anime style, a girl with a red scarf standing on a school rooftop at dusk, wind pushing her hair and scarf sideways, a flock of birds crossing a pink and violet sky. Slow camera pull-back, clean cel shading, painted background. Wind and distant school bell.
Watch for: Keep to one character. Two characters interacting is a much harder ask.
Stylised 2D animation, steam rising from a bowl of ramen at a tiny late-night counter, the cook ladling broth, warm lantern light, rain on the window behind. Gentle camera drift, soft film grain. Sizzling and quiet radio chatter.
Watch for: Hands holding utensils are the weak spot; frame them small or keep them out of shot.
A watercolour painting come to life: a small hillside village, smoke curling from chimneys, clouds sliding across a pale blue sky, brush-stroke edges and visible paper texture. Slow horizontal pan. Soft acoustic guitar.
Watch for: Style transfer can fade toward realism over a long clip. 5 s holds the look better than 10 s.
Layered paper cut-out animation of a fox walking through a forest of paper trees, each layer moving at a different speed to create parallax, soft shadows between layers, warm craft-paper palette. Light foley footsteps and rustling paper.
Watch for: Ask for parallax explicitly; otherwise the layers may merge into a flat painting.
Cel-shaded giant robot rising from a launch bay in a burst of steam and sparks, warning lights sweeping the hangar, low-angle camera tilting up to the face of the robot as its eyes light. Strong rim light, dramatic speed lines. Metallic clanks and a rising engine whine.
Watch for: Complex machinery will simplify. Describe two or three clear shapes, not a parts list.
Wan 3.0 generates an audio track. Describe the sound as deliberately as the picture: what is audible, how close, how loud.
Two friends laughing at a small table in a busy cafe, one telling a story with animated hands, the other leaning in. Medium two-shot, shallow focus, warm window light. Murmur of a crowded cafe, cups clinking, soft laughter.
Watch for: Do not expect lip-sync you can rely on for dialogue. Treat speech as atmosphere unless you test it.
A night street food market, a vendor flipping noodles in a flaming wok, steam and sparks rising, customers queuing in the background. Handheld-style medium shot. Loud sizzling, chopping, chatter in the background.
Watch for: Busy backgrounds make faces fragile. Keep the hero action large in frame.
Inside a wooden cabin, rain streaming down a window, a fire crackling in a stone hearth, a cat asleep on a blanket. Static wide shot, warm firelight against cool blue window light. Steady rain, crackling wood, a slow clock tick.
Watch for: A calm scene with layered sound is a good test of the audio track at low cost.
A small podcast studio with two microphones on boom arms, acoustic foam on the walls, a red on-air light glowing, a headphone cable swaying slightly. Slow push-in, moody amber lighting. Low room tone and a faint electrical hum.
Watch for: Good for channel intros where you add your own voice-over later.
A summer festival crowd at sunset, hands in the air, confetti drifting in the backlight, a stage glowing in the distance. Wide shot slowly tilting up to the sky. A muffled bass-heavy live band and cheering.
Watch for: Crowds become soft, which suits a wide establishing shot. Avoid asking for close faces.
Use one camera move per clip and name it in plain film language: dolly, orbit, push-in, crane, whip pan, handheld.
A long, narrow office corridor with a single person standing at the far end. Classic dolly-zoom: the camera moves backward while the lens zooms in, the corridor walls stretching and the person staying the same size. Cold fluorescent light, unsettling hum.
Watch for: A tough move. Expect to try a few times, and try shorter phrasing if it ignores the effect.
A weathered stone statue in an empty plaza at blue hour. The camera makes a slow 180-degree orbit around the statue at eye level, street lamps flickering on in the background. Distant church bell.
Watch for: Check that the statue keeps the same face on the way round.
A fast whip pan from a quiet bedroom with morning sun to a busy kitchen where breakfast is being made, motion blur bridging the two spaces. Handheld energy, warm colour palette. Sound shifts from silence to sizzling pans.
Watch for: Fast motion blur forgives detail, so a cheap 480p draft tells you most of what you need.
A crane shot rising from a small wooden doorway in a stone wall up and over the roof to reveal a vast terraced valley at sunrise. Smooth, steady movement, soft haze in the valley, long shadows. Wind and distant birds.
Watch for: Reveal shots need time. 10 s gives the move room to breathe.
A handheld follow shot behind a courier on a bicycle weaving through a crowded morning market, slight camera shake, shallow focus, natural light. Bicycle bell, chatter, tyres on cobbles.
Watch for: Keep the subject near the middle of frame; the model follows the subject well when it stays readable.
These are written for when image upload opens. They describe the movement between two stills. Until then they load as text-to-video so you can still test the motion language.
First frame: a portrait of a woman looking slightly off-camera. Last frame: the same woman looking straight into the lens with a small smile. Keep identity, clothing and lighting identical; only the head turn and expression change. Subtle breathing, soft room tone.
Watch for: Frames should share lighting and framing. Large changes between stills create morphing.
First frame: a quiet street at midday. Last frame: the same street at night with lit windows and wet pavement. Time-lapse transition, clouds racing, shadows sweeping across the road, streetlights switching on in sequence. Fast ambient swell.
Watch for: Use two stills from the same tripod position. Different crops cause jumps.
First frame: a closed matte black box on a white table. Last frame: the lid open with a pair of earbuds glowing inside. The lid lifts smoothly, soft light spills out, slow push-in. A subtle reveal chime.
Watch for: Describe the motion between the stills, not the stills themselves.
First frame: a lone oak tree in a green summer field. Last frame: the same tree bare under snow. Leaves turn amber and fall, snow gathers, the light cools. Locked-off wide shot, gentle wind turning to winter silence.
Watch for: Long transformations are cheap to rehearse at 480p before you commit credits to 720p.
First frame: a pencil sketch of a modern lake house. Last frame: a finished photorealistic render of the same house at golden hour. Lines fill with colour and materials, the camera drifts slightly closer. Soft pencil scratching fading into birdsong.
Watch for: Works best when sketch and render share the same perspective lines.
Treat the first render as a question, not an answer. If the subject is right but the motion is wrong, rewrite only the action sentence. If the look is right but the camera is boring, swap the camera move and leave everything else alone. If faces or hands are the problem, make them smaller in frame or remove them. Seeds are supported by the model but not guaranteed to be deterministic, so do not rely on a seed to reproduce a clip exactly.
For the full list of what Wan 3.0 supports, see the Wan 3.0 video generator page. To compare it with another model before you commit credits, read Wan 3.0 vs Kling 3.0. Shotloom is independent and unofficial; the prompts here are our own and are not provided by any model owner.
Yes. They are original and free to use. Press Use this prompt to load one into the generator with its suggested settings.
Two to four sentences is a good range, roughly 200 to 500 characters. The generator accepts 10 to 1500 characters.
No. We show no sample videos, because none of them would be honest model output yet. Each card lists what to watch for when you run it.
Image upload is not open on Shotloom. The cards are written for first and last frames, and load as text so you can test the motion language today.
Use one move per clip, name it in plain film terms, and put it early in the prompt. Try 480p drafts first because they are the cheapest way to iterate.