動画プロンプト

防波堤に押し寄せる高潮のプロンプト

防波堤に押し寄せる高潮のプロンプト。水面近くにカメラを据え、嵐の波がコンクリートの防波堤にぶつかる瞬間を捉えます。 @sebatheepan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

プロンプト防波堤に押し寄せる高潮

A storm surge detonates against a concrete sea wall and the entire structure shudders through to its foundation.
Shot 1 — 0.0s to 5.0s — WS, low angle looking up from the waterline, crane mount. At 0.0s the frame is already wet: a brutalist concrete tidal barrier runs from frame left toward a vanishing point right, its vertical buttress fins stained dark by decades of salt, and a single sodium floodlight on a rusted mast burns orange against a bruised graphite sky. A swell arrives from behind camera and the first fraction of it — a wall of grey-green water, no crest, freight-train mass — climbs the parapet at 0.6s and detonates over it at 1.4s into a sheet of white spray that crosses the whole frame. The crane lifts with the impact at 1.2 m/s, rising from just above the waterline toward eye height on the parapet. Spray hangs airborne after the surge retreats, thinning slowly across the floodlight beam.
Hard cut.
Shot 2 — 5.0s to 10.5s — MCU, low, locked-off at the parapet. The last of the water drains back through the expansion joints in vertical ropes, and the retreat drags debris on gravity rather than wind: a length of splintered timber, a burst orange buoy, a scatter of stone aggregate, each tumbling with rotation and settling where physics puts it against the buttress fins. Residual water sheets off the concrete in one continuous film, then breaks into drips. Two gulls cross frame right to left, small and unhurried, and are gone.
Hard cut.
Shot 3 — 10.5s to 15.0s — EWS, high angle looking down from behind and above the barrier, slow dolly forward at 0.3 m/s. The ocean beyond is still working — long ground swell lines stacked to the horizon under the bruised sky — while the barrier itself has gone motionless and the suspended spray from the impact turns slowly in the floodlight beam. Nothing settles twice; the scene arrives at stillness with the water still moving behind it.
Camera law: 24mm anamorphic; movement family is crane rise at 1.2 m/s through shot one, locked-off through shot two, slow dolly forward at 0.3 m/s through shot three; the camera stays low for shots one and two and lifts above the parapet line only for shot three; 180 degree motion blur. Anti-default: droplets on the lens glass in the near foreground of shot two, defocused, never wiped.
Grade and audio: storm-desat palette — graphite, sodium-orange, cold grey-green — contrast pushed high with blacks crushed. Key light is the single sodium floodlight on the rusted mast, halation blooming where it burns through suspended spray. A gale ambient bed under five diegetic events — deep water impact on concrete, spray hiss across stone, water draining through expansion joints, timber cracking against the barrier, a distant fog signal.
Constraints: Count of people in frame: zero. Count of gulls: two. Count of light sources: one. No music, no score, no bgm. No subtitles.

Kling 4.0 音声あり＋参考画像

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。

プロンプトの使い方

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。
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。
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

ワシを追うFPV映像

@minchoi · 2026年9月29日

"Third-person chase shot from directly behind and slightly above a golden eagle as it flies over vast mountainous steppe. The camera follows at a fixed distance of a few metres, locked steady on the eagle, with smooth forward motion and no jitter. The whole bird stays in the lower centre of the frame with its full wingspan inside the frame and clear space on both sides. First it beats its wings powerfully, feathers flexing at the tips, then it spreads them wide and glides. Below and ahead, the landscape rushes toward the camera: winding rivers, open valleys, rocky peaks, with strong parallax. Bright late-afternoon sun from ahead, crisp air, a gentle rim light on its feathers, subtle lens flare. Realistic flight physics, motion blur from speed only, one continuous shot with no cuts."

墨絵の巻物から流れ落ちる滝

@opener_ai · 2026年10月18日

A tall Korean ink-wash landscape scroll hangs against a warm plaster wall in a quiet hanok alcove. Painted misty mountains and a black pine surround one narrow painted waterfall. A shallow celadon basin rests directly below the scroll, already visible from the opening frame. The opening second reveals the striking ink waterfall gleaming faintly like liquid. Over the next three seconds only the waterfall's lower end gradually becomes a small continuous stream of real clear water, crossing the paper's lower edge and falling into the basin. For the remaining six seconds that stream keeps flowing from the same painted waterfall, producing contact splashes and expanding ripples; the basin's water level rises slightly without overflowing. The deliberate fantasy is only the painted waterfall producing real water: mountains, pine, paper borders and wall remain still and dry. Static full view of scroll and basin, warm side lighting, exquisite ink texture and glossy celadon, one continuous ten-second shot. No cuts, new objects or captions.

崖と打ち寄せる波

@HBCoop_ · 2026年10月20日

The drone pushes forward low over the water toward the cliff as a big wave hits the rocks and explodes into spray that drifts across the frame; grey light steady. Smooth forward camera move with a slight rise. One continuous take, wind and sea sound.

倉庫内のFPV撮影

@HBCoop_ · 2026年10月20日

FPV racing drone, one continuous take: the drone accelerates down the aisle, banks hard left around a pillar and right around the next, dips low over the puddle so the reflection streaks past, rolls level, climbs, and punches out through the broken window into bright daylight. Fast and smooth, ultra-wide action-camera look held throughout, motor hum and wind. No cuts.

コンテナを追うガントリークレーン撮影

@sebatheepan · 2026年10月21日

A gantry crane walks a loaded shipping container across a working port at last light, and the camera never leaves it. Shot 1 — 0.0s to 10.0s — one continuous unbroken take, WS opening to MCU, crane-mounted arc into a dolly-zoom, subject held in the right third. At 0.0s the frame sits inside the machinery's own logic: a blue-grey container hangs twelve metres above quay level on four steel cables that are the only diagonal in a composition built from horizontals — stacked containers running to the frame edge, a flat leaden canal, a hard horizon. At 1.2s the trolley travels right along the gantry boom at 1.0 m/s and the camera arcs with it; the cables pass from slack to taut and the container answers with a slow pendulum that gravity kills by 3.0s. Below, a stub of loose tarpaulin on a container roof lifts and folds in the crosswind, then drops. At 6.0s the trolley brakes, the container floats its last half metre of travel, and the cables hand the load's momentum to the frame as a single lurch the camera takes rather than hides. At 8.0s the lens dolly-zooms into the container's corrugated face, the world flattening and compressing against the steel, and holds to the end while the port keeps working behind it. Camera law: 35mm anamorphic, one continuous unbroken take with no cut and no gap; movement family is a crane-mounted arc at 1.0 m/s through the travel, then a dolly-zoom for the final beat; height holds just above container-roof level, high angle looking down on the quay, never eye level with the machinery; 180 degree motion blur. Anti-default: a defocused steel cable passes within twenty centimetres of the lens twice during the arc, and neither pass is wiped. Grade and audio: cool-daylight palette — leaden blue, rust-brown, sodium-amber — contrast soft lifted blacks. Key light is the dying sun low behind the gantry, halation blooming through salt haze and diesel exhaust. Port rumble and water slap as the bed under five diegetic events — steel cable loading, trolley motor, a container meeting its quay guide, crosswind through tarpaulin, a far ship's horn. Constraints: Count of cuts: zero. Count of people in frame: zero. No music, no score, no bgm. No subtitles.

一滴の水の動きを捉えるマクロ撮影

@sebatheepan · 2026年10月21日

A single droplet of water falls into a still black pool and the surface answers it.Shot 1 — 0.0s to 6.0s — ECU macro, eye level with the waterline, locked-off. At 0.0s the frame holds a still black water surface across the lower third, its meniscus drawn as one bright curve against a matte grey background. A single droplet hangs in the upper frame, out of focus, then falls. At 1.4s it strikes the surface and the impact throws a crown of water upward in real time, crisp-edged rather than blurred; the crown collapses inward on itself by 2.4s and a rebound droplet rises out of the collapse, hangs briefly at 2.6s, and falls back at 4.1s. Ripples run outward and reach the frame edge at 5.4s, and the surface settles into stillness indistinguishable from frame one. Camera law: 100mm macro at minimum focus distance, locked-off, no camera move; the plane of focus sits exactly on the meniscus and depth of field is razor thin; 1/2000s shutter so droplet edges stay crisp through the fastest motion. Anti-default: a defocused beaker rim occupies the left fifteen percent of the frame, close to the lens, and is never racked away.Grade and audio: cool-daylight palette — black, steel-blue, one white specular — contrast low-key deep shadow. Key light is a single soft source directly above the pool, halation blooming on the specular highlight. Room tone as the bed under five diegetic events — surface tension snapping, impact into the pool, crown collapse, the rebound droplet returning, ripples sheeting across still water.Constraints: Count of cuts: zero. Count of droplets: one. Count of people in frame: zero. No music, no score, no bgm. No subtitles.

カテゴリ一覧

● REC · CUT TO YOU

作例と原文は無料で閲覧できます。

作者が動画と一緒に公開した原文を掲載しています。作品の出典は各ページで確認できます。

ReelDanceを開くほかのプロンプトを見る