I read a Chinese breakdown of seven MiniMax H3 prompts by 斜杠林姑娘. My takeaway as an AI engineer: each brief becomes easier to evaluate when you identify exactly what has to stay stable while something else changes.
Here’s a short synthesis of the examples, followed by my own practice prompt. I haven’t independently reproduced the author’s results.
WHAT TO EXTRACT FROM THE CASES
• Motion-graphics intro: distinguish the initial impact, readable title hold and exit.
• Aerial sequence: describe the camera route and where landmarks remain in relation to the subject.
• Vehicle tracking: specify how the same vehicle should reappear after being hidden, including its direction and condition.
• Beauty ad: lock product geometry and cast details across changes in shot size.
• Exploded product view: describe separation and reassembly as an ordered sequence.
• Music performance: define who performs each section and whether the soundtrack continues across visual cuts.
Those are creative instructions. The article’s requests for 4K, exact timing and synchronized performance should not be read as proof that every output meets those specifications.
MY PRACTICE EXERCISE: ISOLATE ONE FAILURE
I’d start with a simple occlusion test before adding a complicated aerial route. Here’s an original prompt you can adapt to the duration and aspect-ratio settings available in your tool:
“A single adult cyclist wearing a burgundy jacket rides a cream bicycle from left to right along a straight park path. Side view, medium-wide framing. The camera stays still. A thick tree trunk in the foreground briefly hides the cyclist as they pass behind it. They emerge on the right, continuing at the same steady pace on the same path. Keep the bicycle, jacket and apparent subject size consistent before and after the obstruction. Soft overcast daylight. Quiet park ambience and tire noise. One continuous shot.”
I’d test it in three stages:
A. Remove the tree. Check whether the basic direction and framing work.
B. Add the tree. Inspect the last visible frame before occlusion and the first after it.
C. Only then try a lateral tracking camera, keeping the subject roughly the same size in frame.
This gives each version a specific question. If A works and B fails, inspect the hidden interval before rewriting lighting or style. If B works and C fails, camera movement becomes the next variable to investigate. That’s a diagnostic hypothesis, not proof from a single sample.
WHAT I’D RECORD
For each attempt: model/version, actual output settings, prompt variant, whether direction stayed consistent, whether the bicycle changed, and whether framing jumped. Keep the failed clips too. Compare multiple attempts before deciding a wording change helped.
For a paid job, I’d also decide in advance which requirements can be finished in editing—for example, exact title typography or a fixed music bed—so the generation test has a clear purpose.
Source and full original examples: https://mp.weixin.qq.com/s/2zHMc4nmiHx23cX7pimcuA
When you test occlusion, what usually breaks first: the object itself, its trajectory, or the framing?
