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Kling 4.0 vs Veo 3.1: blazer try-on and spinのプロンプト

Kling 4.0 vs Veo 3.1: blazer try-on and spinのプロンプト。 @kodavidによるKling 4.0の作例と原文を掲載。

プロンプトを自分の作品に合わせる

プロンプトKling 4.0 vs Veo 3.1: blazer try-on and spin
Kling 4.0 音声あり

Kling 4.0とは？

Kling 4.0はKuaishouの動画生成AIです。カメラの動きと場面の展開を指定して、動きのある映像を組み立てられます。

最長30秒の生成、OmniReferenceを使った素材の参照、複数キーフレームの指定に対応します。利用できる設定はモデルのバージョンによって異なります。

プロンプトを自分の作品に合わせる

プロンプトの使い方

  1. STEP 01作例を見る

    動画と原文を見比べ、どのような場面を指定しているか確認します。

  2. STEP 02内容を調整する

    気に入った構図や照明の指定を残し、被写体や場所を変えます。

  3. STEP 03ReelDanceで開く

    制作画面でプロンプトを確認し、必要に応じてご自身の参考画像を追加してください。

ほかの作例の動画やプロンプト全文も確認し、作りたい映像に合うものを探せます。

ほかのプロンプトを見る

街歩きのVlog

@minchoi ·

"Raw vertical 9:16 selfie video shot on a phone's front camera held at arm's length, one continuous 30-second take with no cuts. It looks like an ordinary unedited phone clip, not a film: slightly soft image, a little digital noise and compression, deep focus with the background as sharp as her face, auto-exposure brightening and dimming as she walks between sun and tree shade, no colour grading. Handheld and imperfect: the phone bobs and sways with each step, tilts off level, drifts until the top of her head is cut off, and she re-centres it. [Sadie], a young woman in her early 20s with long honey-blonde waves blowing across her face, light natural makeup, small gold hoop earrings, a cropped cream knit top and light-wash jeans, walks forward along one long, straight, tree-lined downtown street in bright late-morning sun, a plain iced coffee cup with no logo in her free hand. She never stops, turns around or turns a corner; behind her is the same street she has already walked, with a few passers-by, parked cars and shopfronts with unreadable signs. Around 12 s a flower stall slides past beside her and she glances at it; around 17 s she passes a bakery window, glances at it and laughs.[Sadie: casual young woman's voice, a little breathless from walking, recorded on the phone's built-in mic]: "Okay, walk with me. I'm meeting my sister for brunch and I'm, like, ten minutes early for once. ... I love this street in the morning, before all the people. ... Oh, the flower stall's out again, so pretty. ... And that bakery... no. Be strong. ... Okay, it's just up here. I'll show you what we get. Bye!"Audio as captured by the phone mic, not studio clean: her voice close and slightly compressed, light wind buffeting the mic, traffic passing, a bus pulling away, footsteps, snippets of passer-by chatter, all mixed under and around her voice."

街を紹介するキジトラ猫

@AIwithSarah_ ·

A 15-second continuous cinematic selfie-style video of an anthropomorphic tabby cat vlogger walking down a modern city street while holding a front-facing camera. The cat is wearing black headphones and a blue plaid shirt, speaking directly to the camera in a casual, confident tone like a daily street vlogger. Mouth movement synced to speech throughout. The camera remains in selfie mode the entire time with slight handheld shake for realism. Natural daylight lighting. Background includes passing cars, pedestrians, and tall buildings softly blurred with shallow depth of field. As the cat walks forward, it talks continuously, occasionally nodding, blinking, and slightly adjusting its headphones mid-sentence. Subtle fabric movement from wind. Natural whisker and ear motion. The cat briefly laughs near the end while still speaking, then gives a friendly wink at the camera. Ultra-realistic fur detail, natural lip sync, vlog aesthetic, cinematic color grading, 4K, 24fps, realistic motion blur.

ブランチでの自撮り

@minchoi ·

Raw vertical 9:16 video recorded on a phone's front camera (not on screen), one continuous 30-second take with no cuts. It looks like an ordinary unedited phone clip, not a film: slightly soft image, a little digital noise and compression, deep focus with the café behind her as sharp as her face, auto-exposure brightening and dimming as people pass the sunny window behind her, no colour grading. The phone sits close and a little low, looking slightly up at her; around 9 s a waiter's arm bumps the table, the phone slides and tilts, and she catches it and props it back up. Sadie, a young woman in her early 20s with long honey-blonde waves, light natural makeup, small gold hoop earrings and a cropped cream knit top, sits at a small marble table by a big sunny window in a busy brunch café. Her sister sits across from her, out of frame except for her arm and a hand with a silver ring. Behind Sadie: other tables of people talking, a counter with a glass pastry case, plants, staff moving about, chalkboards too far away to read. Around 9 s a waiter sets down two plates, a lemon ricotta pancakes and a plate of eggs on toast, plus two iced coffees in plain glasses. Around 15 s she turns the pancake plate toward the camera; around 20 s she cuts a bite, eats it and closes her eyes; around 26 s her sister's hand reaches in with a fork and steals a piece of pancake, and Sadie swats at it, laughing. [Sadie: casual young woman's voice, warm and a bit giggly, recorded on the phone's built-in mic from half a metre away]: "Okay, I promised I'd show you what we get. ... We get the same thing every single time. ... Oh, here it is! Thank you! ... Look at this. Lemon ricotta pancakes. ... Mmm. Okay. Yeah. Still the best. ... Hey! Get your own!" [Her sister, off camera: a young woman's voice, dry and amused]: "That's the tax." [Sadie, laughing]: "She does this every time." Audio as captured by the phone mic in a busy café, not studio clean: her voice close but with the room around it, the hiss and grind of an espresso machine, cups and cutlery clinking, overlapping chatter and laughter from other tables, a door bell jingling, a chair scraping, faint music in the background. No subtitles, no captions, no on-screen text.

空港で撮るVlog

@minchoi ·

Raw vertical 9:16 selfie video shot on a phone's front camera held low at chest height while she sits, one continuous 30-second take with no cuts. It looks like an ordinary unedited phone clip, not a film: slightly soft image, a little digital noise and compression, deep focus so the gate area behind her is as sharp as her face, flat white overhead light mixed with pale daylight from the big windows, no colour grading. The phone rests in her hand near her knee, so the angle is a little low and drifts as she shifts in her seat. Sadie, a young woman in her early 20s with long honey-blonde waves in a loose low ponytail, no makeup, small gold hoop earrings, an oversized grey crew-neck sweatshirt with no print and black leggings, sits in a row of connected grey seats at an airport gate early in the morning, a small carry-on suitcase beside her knee and a paper coffee cup with no logo in her free hand. Behind her: a wall of tall windows with a parked plane on the tarmac in pale morning light, other travellers sitting with bags, a man on a phone call pacing slowly, someone asleep with their hood up, a gate desk far off with screens too small and distant to read. Around 9 s she sips her coffee. Around 15 s she glances over her shoulder toward the gate desk as an announcement plays, listens, then turns back. Around 23 s she yawns behind her hand mid-sentence and laughs at herself. [Sadie: casual young woman's voice, quiet and a little croaky from the early start, keeping it down because she's in a public place, recorded on the phone's built-in mic]: "Okay, it is way too early. ... I've been up since four. ... But I'm surprising my best friend for the weekend, and she has no idea, so... worth it. ... Wait, is that us? ... No. Not us. ... Okay. Forty minutes. I'm getting another coffee. Don't judge me." Audio as captured by the phone mic in a huge, hard-surfaced airport terminal, not studio clean: her voice soft and close on top, with the wide, echoey hum of the terminal all around it; at around 15 s a two-tone chime and then a boarding announcement over the PA, distant, echoing and unintelligible; suitcase wheels rolling past on the hard floor; a coffee machine hissing at a kiosk; low murmured conversations from nearby seats; a child chattering a few rows away; a jet engine whining faintly through the glass; her sweatshirt rustling when she moves. No subtitles, no captions, no on-screen text.

停めた車の中での告白

@minchoi ·

Raw vertical 9:16 video recorded on a phone's front camera, one continuous 30-second take with no cuts. It looks like an ordinary unedited phone clip, not a film: slightly soft image, digital noise and compression, flat grey daylight through rain-streaked windows, no colour grading. the picture wobbles whenever she moves and jolts when she pulls the door shut. Sadie, a young woman in her early 20s with long honey-blonde hair in a messy bun with loose strands, no makeup, small gold hoop earrings and an oversized sage-green hoodie with no print, sits in the driver's seat of a small, slightly messy hatchback parked in a supermarket car park on a rainy afternoon. Rain streaks every window; through the rear window, blurred parked cars and a trolley bay. At the start she drops into the seat and pulls the door shut. She tells the story with her hands. Around 18 s she covers her face with both hands. Around 26 s a trolley rattles past her window and she slides down low in the seat as if hiding, laughing. [Sadie: casual young woman's voice, a bit breathless and mortified, recorded on the phone's built-in mic in a small car]: "Okay. I need to tell someone this immediately. ... So I'm in the cereal aisle, and this guy waves at me. Like, a big wave. So I wave back. Big wave. ... He was waving at his wife. Who was right behind me. ... And then I saw them again at the checkout. ... I'm never going back in there. I live in the car now. This is my home." Audio as captured by the phone mic inside a closed car, not studio clean: rain drumming on the roof and windscreen, her voice close and boxy in the small space, the door's heavy thud, fabric rustling against the seat, and outside, muffled through the glass, a trolley rattling past, a car door slamming and an engine starting. No subtitles, no captions, no on-screen text.

ビーチで撮るVlog

@minchoi ·

Raw vertical 9:16 selfie video shot on a phone's front camera held at arm's length while she sits on the sand, one continuous 30-second take with no cuts. It looks like an ordinary unedited phone clip, not a film: slightly soft, a little digital noise and compression, deep focus so the sea behind her is as sharp as her face, a low golden sun to one side with lens flare drifting across the frame, auto-exposure dimming and brightening as her head blocks and reveals the sun, no colour grading. Handheld and relaxed: the phone sways gently and tilts as she leans back on her other hand. Sadie, a young woman in her early 20s with long honey-blonde waves blowing across her face in the wind, light natural makeup, small gold hoop earrings and an oversized white knit sweater with no print, sits on cool sand on a wide, quiet beach at sunset, knees pulled up. Behind her: low waves rolling in and spreading foam up the sand, the sun sinking toward the horizon, a couple walking a dog along the waterline in the distance, a few gulls. Around 8 s she tucks her hair behind her ear and the wind blows it straight back. Around 16 s a bigger wave runs further up the sand behind her and she glances back at it. Around 24 s she turns her face into the sun for a moment, eyes closed, then smiles back at the camera. [Sadie: casual young woman's voice, soft and unhurried, a little buffeted by the wind, recorded on the phone's built-in mic]: "Okay. Long week. ... I just needed to sit somewhere and not look at my phone. ... Which, yeah, I'm on my phone. I know. ... But look at this. ... I'm staying till it's gone. ... Okay. Bye." Audio as captured by the phone mic outdoors on an open beach, not studio clean: waves rolling in and breaking softly, the long hiss of foam sliding up the sand and pulling back, wind buffeting the mic in gusts, gulls calling overhead, a dog barking far down the beach, faint voices from people far away, the sand crunching as she shifts. Her voice close on top with no echo at all, sometimes partly swallowed by a gust. No subtitles, no captions, no on-screen text.

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