AI Agent Creative Film Shot

This might be the craziest way I’ve ever used AI Agents.
I gave MiniMax Design 2 iconic meme references and asked its AI Agent to connect them with one seamless cinematic FPV move.

It analyzed the idea, broke down the sequence and built the MiniMax H3 prompt for me.

The result is absolutely ridiculous. 🔥

I’m dropping the exact MiniMax Design prompt in the thread so you can try it yourself 👇

#MiniMaxH3 on #MiniMaxDesign

### 作者补充

[补充1]
This might be the craziest way I’ve ever used AI Agents.
I gave MiniMax Design 2 iconic meme references and asked its AI Agent to connect them with one seamless cinematic FPV move.

It analyzed the idea, broke down the sequence and built the MiniMax H3 prompt for me.

The result is absolutely ridiculous. 🔥

I’m dropping the exact MiniMax Design prompt in the thread so you can try it yourself 👇

#MiniMaxH3 on #MiniMaxDesign

[补充2]
Using MiniMax Design is ridiculously simple.
The key is how you brief the AI Agent.

Give it your references, explain exactly what you want to achieve, the movement, the vibe, the transition…

And it turns your idea into a powerful prompt fully optimized for MiniMax H3.
You bring the idea.
The Agent does the prompt engineering. 🔥

[补充3]
Here’s the prompt it created for this FPV sequence 👇
Use Image 1 as the exact opening frame and Image 2 as the exact destination world, creating one uninterrupted 15-second ultra-smooth cinematic FPV one-take with no cuts, no glitches, no teleportation, no jumpy motion, and no visible camera, as if an invisible stabilized micro-FPV lens is drifting naturally through a warm, lived-in living room and then physically flying into a television to emerge inside the second scene. Begin by preserving Image 1 perfectly: the man stays in the same yellow knit shirt, seated deep in the leather recliner with his boots propped up, cigarette smoke rising from his right hand, beer can still present, his left index finger urgently pointing toward the television in the direction he is already gesturing, with the same casual-but-suddenly-focused expression, the same residential living room geometry, the same pleated curtains, table lamp glow on the right, worn boot soles in the foreground, leather reflections, knit texture, and nostalgic warm low-key lighting. For the first 0–3 seconds, start almost motionless and then begin a very subtle forward FPV drift with a slight sideways arc that feels physically weighted and organic, skimming past the foreground boots and the armrest edge while the camera naturally aligns itself with the line of his pointing finger; use the gesture as the guiding vector for the whole move, letting the viewer feel the television is the true target of the composition. Between 3–7 seconds, perform a smooth curved tracking arc around the man’s pointing side, maintaining his face, hand, smoke, chair, and curtains in consistent perspective while progressively revealing the television in the room; the motion should feel like a real flying camera easing around a seated subject, not a pan or zoom, with strong parallax between the foreground boots, the midground man, and the soft curtain plane behind him. As the television becomes visible, its screen should already contain Image 2 as a living cinematic scene, not a static frame: the same blonde man in a black tuxedo jacket, white shirt, and black bowtie, with slicked-back hair, a knowing confident smile, and a champagne coupe raised toward camera, but animated with subtle, elegant human micro-motion only—soft breathing and natural chest rise, a faint head-and-shoulder shift, natural blinking and tiny eye movement, minimal facial micro-expressions that preserve the original confident smile, slight hand and finger adjustment around the glass, a gentle wrist rotation or small lift of the coupe, delicate liquid movement inside the glass caused by the motion, tiny reflections sliding across the glass surface, a subtle weight shift through the body, and barely perceptible cloth movement in the tuxedo from breathing and posture. From 7–11 seconds, gradually accelerate directly toward the television in a smooth, elegant FPV approach, keeping the man in Image 1 and the TV in a single spatial relationship, with realistic lens behavior, soft screen reflections, faint glass depth, slight perspective distortion at the screen surface, and natural falloff in depth of field as the screen grows larger and larger until it dominates the frame. The television surface must feel physically real, with subtle room reflections and believable contrast between the screen image and the surrounding bezel, and the approach must remain seamless, continuous, and stable, with no abrupt zoom, no wobble, and no transition artifacts. As the camera gets closer, the motion inside the TV should continue naturally and remain alive, with the character’s breathing, blinking, tiny gaze shifts, and champagne glass micro-movements persisting uninterrupted so the screen feels like a real moving scene rather than a frozen image. From 11–15 seconds, the camera flies through the television screen in one uninterrupted motion, crossing the glass plane invisibly so that the screen image expands to full frame and becomes the actua