MinimaxH3 Zs05 双采加速 LantentUpscaler Hybrid关键帧+参考混合生视频

Basic Model : MiniMax H3|Published : Sep 15, 2026 19:16

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integrated_multimodal_description:

A 15.00-second cinematic stylized dramatic short consisting of EXACTLY FOUR SHOTS.

STRICT DIRECTORIAL RULE:

Use ONLY the four camera setups explicitly described below.

Do NOT invent any additional shot.

Do NOT add reaction shots, reverse shots, close-ups, inserts, cutaways, over-the-shoulder shots, character close-ups or additional coverage.

Do NOT add any greeting, waving, nodding, smiling at the bear, hand gesture toward the bear, spoken interaction or physical interaction between the elderly man and the polar bear.

The story must follow the specified four-shot structure exactly:

SHOT 1 — exterior extreme wide shot
→ HARD CUT
SHOT 2 — frontal symmetrical breakfast shot
→ HARD CUT
SHOT 3 — elderly man's POV toward frosted window
→ HARD CUT
SHOT 4 — return to the exact frontal symmetrical breakfast shot.

No other camera angle is permitted.

VISUAL STYLE:

A clean, carefully art-directed cinematic storybook aesthetic with precise symmetrical compositions, strong geometric organization, restrained deadpan acting and subtly stylized but physically coherent characters.

Use tactile materials: thick knitted wool, painted wood, matte ceramic, glass, white frost, snow, ice, toast, jam and coffee.

The palette is bright, clean and moderately desaturated.

Exterior:
pale arctic blue,
powder blue,
soft blue-gray,
luminous white snow and ice,
faded pale blue-gray house walls,
muted raspberry-pink / watermelon-red roof.

Interior:
soft warm-gray and pale neutral walls,
faded blue-gray painted wood,
raspberry-red checked tablecloth,
deep muted blue knitted sweater,
blue ceramic cups,
warm brown toast,
white boiled egg,
restrained red jam.

Keep the image clearly exposed and visually readable.

No dark cinematic grading.
No muddy shadows.
No high saturation.
No heavy teal-orange grading.
No green color cast.
No excessive yellow lighting.
No neon colors.
No glossy modern CGI appearance.

GLOBAL SPATIAL CONTINUITY:

The story takes place immediately before polar daybreak on an enormous flat frozen plain.

One tiny isolated house stands alone between a vast pale-blue ice field and a cold blue sky.

The house has faded pale blue-gray exterior walls, one muted raspberry-pink roof, one chimney and one frosted window.

Inside the same house is one small breakfast room.

A rectangular frosted window is centered on the wall behind a small dining table.

The elderly man sits on one side of the table.

One empty wooden chair stands directly opposite him.

The chair remains empty throughout the entire film.

The elderly man has neatly groomed white hair and a carefully trimmed white beard. He wears one thick dark-blue knitted sweater.

On the breakfast table:
one raspberry-red checked tablecloth,
one blue ceramic cup,
one boiled egg,
two slices of toast,
one small container of red jam,
one butter knife,
one coffee pot.

A second identical blue ceramic cup is introduced by the elderly man only in Shot 4.

There is exactly one elderly man and exactly one polar bear.

The polar bear is a realistic large adult polar bear with natural off-white fur and calm animal behavior.

[SHOT 1 — 00:00.000–00:03.500]
STATIC EXTREME-WIDE EXTERIOR

A completely static 28mm extreme-wide establishing shot.

The camera does not move.

The straight horizon crosses horizontally through the center of the composition.

A vast pale-blue ice field fills the lower half.

A vast cold blue morning sky fills the upper half.

The tiny isolated house is intentionally extremely small within the frame, almost comically insignificant compared with the enormous empty landscape.

Its walls are faded pale blue-gray.

Its small raspberry-pink roof provides the only strong warm-color accent.

A thin line of white smoke rises slowly from the chimney.

There are no mountains, trees, roads, vehicles, neighboring houses, people or other animals.

For the first moment, almost nothing moves.

Then one polar bear enters naturally from the far right side of the frame.

The polar bear remains VERY SMALL within the extreme-wide landscape.

It slowly walks leftward toward the tiny house.

Do NOT cut closer to the bear.

Do NOT change camera angle.

Do NOT track the bear.

Do NOT zoom.

Do NOT show the bear's face in close-up.

At 00:03.500:

HARD CUT DIRECTLY TO SHOT 2.

[SHOT 2 — 00:03.500–00:07.500]
STATIC FRONTAL BREAKFAST COMPOSITION

A perfectly frontal, completely static, symmetrical 40mm interior medium shot.

The elderly man sits centered at the breakfast table facing directly toward the camera.

The frosted rectangular window is centered directly behind him.

The composition is precise, flat and orderly.

The raspberry-red checked tablecloth fills the lower portion of the composition.

The blue ceramic cup, boiled egg, two pieces of toast, red jam and breakfast utensils are arranged neatly on the table.

The man wears his thick dark-blue knitted sweater.

His white hair and white beard are carefully groomed.

He is completely absorbed in breakfast.

He uses the butter knife to spread red jam across one piece of toast.

FIRST STROKE.

The knife travels carefully across the toast.

He resets it.

SECOND STROKE.

Almost the same speed and distance.

He resets it again.

THIRD STROKE.

The repetitive action is precise, serious and slightly mechanical.

The elderly man does not smile.

He does not look around.

He does not speak.

Behind him, the entire window remains covered by thick opaque white frost.

During the final spreading motion, a large diffuse white silhouette gradually appears outside behind the frosted window.

The shape is ambiguous because the polar bear and frost are both pale.

The man does not react before the silhouette becomes visible.

Only after the large white silhouette has stopped outside—

the butter knife stops.

His hand freezes halfway through the spreading movement.

His eyes lift slightly.

That is the ONLY reaction.

No sudden head turn.
No exaggerated surprise.
No smile.
No greeting.
No waving.
No standing up.

At 00:07.500:

HARD CUT DIRECTLY TO SHOT 3.

[SHOT 3 — 00:07.500–00:11.000]
SINGLE UNINTERRUPTED POV SHOT TOWARD THE WINDOW

This entire section is ONE SINGLE CAMERA SHOT.

The camera represents the elderly man's direct point of view.

The camera faces the frosted window straight on.

The window is centered and fills most of the composition.

DO NOT CUT AWAY FROM THIS POV.

DO NOT SHOW THE ELDERLY MAN'S FACE.

DO NOT CUT TO A REVERSE ANGLE.

DO NOT GENERATE A REACTION CLOSE-UP.

DO NOT GENERATE AN OVER-THE-SHOULDER SHOT.

DO NOT SHOW THE MAN GREETING THE BEAR.

DO NOT ADD ANY CAMERA ANGLE OTHER THAN THIS WINDOW POV.

Thick opaque white frost covers the glass.

A large pale silhouette is barely visible behind it.

The elderly man's gloved hand enters the POV frame from below.

Only his hand and part of his forearm may be visible.

His palm touches the frost.

He wipes the glass in one slow controlled circular movement.

Physical sequence:

glove contacts frost
→ hand moves in a circle
→ frost clears directly beneath the path of the glove
→ one small clean circular transparent area gradually appears.

Through this circular opening, the polar bear is revealed outside.

The polar bear stands naturally on the ice facing the window.

Its head and upper body are visible through the circular transparent region.

The polar bear looks directly inward through the glass.

The camera remains the elderly man's POV.

Therefore the bear appears to be looking directly toward the camera.

This visual alignment represents the elderly man and polar bear looking directly at each other.

DO NOT show both characters in the same shot.

DO NOT cut back to the man's face to establish eye contact.

DO NOT add a visual reaction from the man.

The POV itself establishes the mutual gaze.

After the circular area has been wiped clear:

the gloved hand lowers completely out of frame.

Nothing else happens.

The polar bear remains still.

The camera remains still.

Hold this silent direct gaze for approximately two seconds.

The polar bear does not wave.

The polar bear does not nod.

The polar bear does not smile.

The polar bear does not raise a paw.

The polar bear does not touch the glass.

The polar bear does not stand upright.

The elderly man does not speak.

There is NO GREETING.

There is NO NEW ACTION.

There is NO ADDITIONAL SHOT.

At 00:11.000:

HARD CUT DIRECTLY TO SHOT 4.

[SHOT 4 — 00:11.000–00:15.000]
RETURN TO THE EXACT ORIGINAL BREAKFAST COMPOSITION

Hard cut directly back to the EXACT SAME frontal symmetrical 40mm interior camera position used in Shot 2.

This is not a new angle.

Camera height, focal length, framing, table position, man's position, window position and room geometry visually match Shot 2.

The elderly man is seated at the table again.

Do NOT show him walking back from the window.

The hard cut itself returns the story to the breakfast composition.

He has resumed breakfast calmly, as though the encounter required no dramatic response.

The original blue cup remains at his own place.

The egg, toast, jam and coffee pot remain on the table.

Behind him, the frosted window now contains the same small circular transparent opening created in Shot 3.

Through this circle, the polar bear's face remains quietly visible outside.

The bear is stationary.

The elderly man does NOT turn around.

He does NOT look toward the polar bear again.

He does NOT acknowledge the bear directly.

He makes one ordinary breakfast movement.

Then pauses.

His eyes move toward the empty chair opposite him.

His head follows only slightly.

Hold this glance briefly.

Without smiling and without any explanatory gesture, he reaches to the side.

He retrieves a second blue ceramic cup identical to his own.

He places the second cup in front of the empty chair.

He picks up the coffee pot.

He pours coffee carefully into the second cup.

Physical order:

empty second cup is placed
→ coffee pot is lifted
→ pot tilts
→ continuous dark coffee stream enters cup
→ liquid level visibly rises
→ pouring stops
→ coffee pot returns to table.

The elderly man then places two fingers against the second cup.

He gently pushes the filled cup across the table toward the empty chair.

The cup slides smoothly.

It stops precisely at the opposite empty place, aligned with the central compositional axis.

He withdraws his hand.

He does NOT look toward the polar bear.

He does NOT smile at the polar bear.

He does NOT wave.

He does NOT gesture toward the cup.

He does NOT invite the bear verbally.

He does NOT acknowledge the absurdity of the gesture.

He simply lowers his gaze.

He picks up his own toast.

He quietly resumes eating breakfast.

Behind him, the polar bear's face remains visible through the circular opening in the frost.

The polar bear does not move away.

During the final moment, hold the camera completely static.

The final composition must simultaneously and clearly contain:

THE ELDERLY MAN
+
THE EMPTY OPPOSITE CHAIR
+
THE SECOND FILLED BLUE COFFEE CUP
+
THE POLAR BEAR VISIBLE THROUGH THE CIRCULAR WINDOW OPENING.

The emotional meaning comes entirely from this visual arrangement.

No further action.

End.

STRICT SHOT CONTROL:

EXACTLY FOUR SHOTS.

SHOT 1:
extreme-wide exterior.

SHOT 2:
frontal breakfast composition.

SHOT 3:
single uninterrupted elderly-man POV toward window.

SHOT 4:
exact return to frontal breakfast composition.

ABSOLUTELY NO FIFTH SHOT.

ABSOLUTELY NO ADDITIONAL REACTION SHOT.

ABSOLUTELY NO INSERT SHOT.

ABSOLUTELY NO CLOSE-UP OF THE ELDERLY MAN.

ABSOLUTELY NO CLOSE-UP OF THE POLAR BEAR OUTSIDE THE DEFINED WINDOW POV.

ABSOLUTELY NO REVERSE SHOT DURING THE WINDOW ENCOUNTER.

ABSOLUTELY NO SHOT OF THE ELDERLY MAN GREETING THE POLAR BEAR.

Do not invent coverage that is not explicitly described.

Do not expand the narrative with additional interaction.

INFORMATION CONTINUITY:

The audience sees the polar bear first in Shot 1.

The elderly man does NOT know the polar bear is present during the beginning of Shot 2.

He notices only the diffuse silhouette behind the frost.

The bear becomes clearly identifiable to the elderly man only after he wipes the circular opening in Shot 3.

Shot 3 establishes their mutual gaze entirely through the man's POV.

After Shot 3, the man knows the bear is outside.

Shot 4 therefore represents quiet acceptance.

He does not need to look at the bear again.

The second coffee is his only response.

PERFORMANCE STYLE:

The elderly man's performance remains extremely restrained, precise and deadpan.

His progression is:

routine
→ interruption
→ observation
→ silent recognition
→ understated hospitality
→ routine.

Do not add intermediate emotional beats.

Do not add surprise reaction coverage.

Do not add friendliness through conventional gestures.

No waving.
No nodding.
No greeting.
No broad smile.
No laugh.
No wink.
No raised eyebrows in exaggerated surprise.
No pointing.
No speaking.
No tapping the window.
No beckoning gesture.

The second cup of coffee is the ONLY gesture of hospitality.

POLAR BEAR PERFORMANCE:

The polar bear behaves as a real calm polar bear.

Shot 1:
slow natural walking.

Shot 3:
standing still and looking through the window.

Shot 4:
remaining quietly visible outside.

Nothing else.

No waving.
No paw gesture.
No nodding.
No smile.
No comedic reaction.
No human posture.
No entering the house.

PROP CONTINUITY:

Shot 2 begins with ONE blue cup at the man's place.

The second cup is NOT visible on the table during Shot 2.

Shot 4 introduces the second cup only when the elderly man deliberately retrieves it.

The circular transparent area in the frost does not exist in Shot 2.

It is physically created in Shot 3.

It remains unchanged in Shot 4.

The empty chair remains empty throughout all 15 seconds.

The polar bear remains outside throughout all 15 seconds.

No object teleports.

No additional cup appears.

No additional chair appears.

No additional character appears.

CAMERA FAILURE PREVENTION:

No continuous 15-second take.

No extra camera coverage.

No reaction close-up.

No greeting shot.

No reverse shot in Shot 3.

No over-the-shoulder shot in Shot 3.

No close-up of man's face after seeing bear.

No montage.

No cutaway.

No camera orbit.

No camera movement through wall.

No handheld movement.

No zoom.

No dramatic push-in.

No Dutch angle.

No whip pan.

No crash zoom.

overall_soundscape:

Shot 1:
extremely quiet arctic wind and distant cold-air ambience.

Shot 2:
muffled room ambience, faint wooden house creaks and three synchronized butter-knife scraping sounds:

scrape.
pause.
scrape.
pause.
scrape.

When the knife stops, the scraping sound stops.

Shot 3:
the gloved palm contacts the frost and produces one dry squeaking sound while wiping the circular opening.

After the hand leaves the frame, near silence.

No greeting.
No dialogue.
No vocal reaction.

Shot 4:
quiet ceramic contact when the second cup is placed.

Soft coffee pouring.

A restrained sliding sound as the cup moves across the tablecloth.

Then quiet breakfast sounds resume.

The polar bear produces no conspicuous vocalization.

No dialogue occurs anywhere in the video.

non_diegetic_music:

Extremely restrained, dry and slightly whimsical chamber music.

Sparse muted piano, soft pizzicato strings and subtle bass clarinet.

Shot 1:
only a few widely spaced notes.

Shot 2:
a tiny repetitive musical figure loosely accompanies the three methodical jam-spreading strokes.

When the knife stops, the motif stops.

Shot 3:
almost complete musical silence during the window POV and mutual gaze.

Do not add a musical reaction sting.

Do not add a cute or comedic musical cue when the bear appears.

Shot 4:
the restrained motif quietly returns.

When the second coffee is placed at the empty seat, introduce only one subtle warm harmonic note.

No emotional crescendo.

No sentimental swell.

End on one small understated chord while the elderly man continues eating and the polar bear remains silently visible outside.

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Instructions

A reference-to-video workflow combining Z-Image and MiniMax H3 for an integrated image-to-video generation pipeline. Z-Image is used to generate and prepare high-quality visual references, while MiniMax H3 handles video generation with a dual-pass sampling strategy and Latent Upscaler for improved detail, motion quality, and final resolution. The workflow also includes acceleration optimizations to balance generation quality and efficiency. Well suited for character-driven videos, cinematic scenes, stylized animation, and other reference-based video generation tasks. Generating a 15-second video takes approximately 7 minutes and costs $0.38.

MinimaxH3 Zs05 双采加速 LantentUpscaler Hybrid关键帧+参考混合生视频. A reference-to-video workflow combining Z-Image and MiniMax H3 for an integrated image-to-video generation pipeline. Z-Image…

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MinimaxH3 Zs05 双采 加速 LantentUpscaler Hybrid关键帧+参考混合生视频

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MinimaxH3 Zs05 双采加速 LantentUpscaler Hybrid关键帧+参考混合生视频