LTX Prompts: 22 LTX-2.3 and 2.5 Templates (6 to 20 Seconds)

[01 · ltx-2-5-fast · 1920x1080 · 24 fps · 20 s · text-to-video]
EXT. QUARRY ROAD - LATE AFTERNOON
Low amber sun, long shadows, chalk dust hanging in still air.

The shot opens on an extreme close-up of a woman in her fifties, deep
tan, grey hair cropped short, a faded orange hi-vis vest over a work
shirt. She squints past the lens, jaw set. She lifts a bottle, drinks,
and lowers it. The camera begins a slow steady pull back, revealing her
standing at the lip of a chalk quarry, machinery small and still on the
floor below. She turns and walks along the rim, boots printing the dust.
The camera keeps easing back until the whole quarry wall fills the
frame, the woman in the orange vest a single moving point along its top
edge. She stops at a marker post, rests one hand on it, and looks down
into the pit. The camera slows to a stop and holds as dust drifts across
the light.
Audio: dry wind, distant diesel engine idling, boots on loose chalk, no music.

[02 · ltx-2-5-fast · 1280x720 · 24 fps · 20 s · text-to-video · dialogue]
INT. NIGHT BUS - LATE
Single overhead strip light, green-blue cast, rain streaking the windows.

A man in his twenties, shaved head, black puffer jacket, sits alone near
the back with a guitar case upright between his knees. He watches the
window. A woman in a red rain jacket, hair soaked flat, sits down across
the aisle and sets a wet paper bag on her lap.
WOMAN (not looking over): "You played the corner by the station."
He looks across, surprised, then back at the window.
MAN (quietly): "Nobody stopped."
The bus turns; the light swings across both faces. She opens the bag,
takes out a pastry, tears it in half and holds one piece out across the
aisle without a word. He takes it. The camera pushes in slightly and
settles on the two of them eating in silence as the rain runs down the
glass behind.
Audio: diesel engine drone, rain on metal roof, wet tyres, no music.

[03 · ltx-2-3-fast · 1280x720 · 24 fps · 20 s · text-to-video · cheap draft pass]
A locked-off wide shot of a launderette at night, six machines along the
back wall, two ceiling tubes flickering slightly out of sync. A man in
his sixties in a brown cardigan sits on a plastic chair reading a folded
newspaper, one machine spinning in front of him. The spin cycle slows
and stops. He lowers the paper, looks at the machine, and does not move.
A woman in a grey tracksuit enters through the glass door, crosses to a
machine at the far end, and begins loading it. Neither speaks. The man
folds the newspaper, stands, opens his machine, and pulls out a single
white sheet. He holds it, looks at it, and pushes it back in. He sits
down again and reopens the paper.
Audio: fluorescent hum, a machine spinning down, a door hinge, coins in a slot.

[04 · ltx-2-5-fast · 1080x1920 · 24 fps · 20 s · text-to-video · vertical]
A vertical handheld shot follows a pair of hands from behind as they
work a lump of clay on a spinning wheel, framed tight from just above
the wrists to the wheel head. Warm side light from a window at frame
left. The clay is off-centre and wobbling. The hands close around it,
thumbs pressing down into the middle, and the wobble evens out. A wall
begins to rise between the fingers, thin and slightly uneven. One hand
lifts away, wipes on an apron, and returns wet. The wall rises higher
and straightens. The wheel slows. A wire passes underneath the base. The
hands lift the finished cylinder clear and set it on a board at frame
right, and the wheel comes to a stop.
Audio: wheel motor hum, wet clay, water in a bowl, a distant radio, no music.

[05 · ltx-2-3-pro · 1920x1080 · 24 fps · length = input audio, up to 20 s · audio-to-video]
A single continuous take in a small radio studio at night. A woman in
her forties, dark hair tied back, headphones half on with one ear free,
sits at a foam-screened microphone under a single warm desk lamp. The
rest of the room is dark. She leans in slightly as she speaks, one hand
flat on the desk, the other turning a pen end over end. The camera holds
a medium close-up and drifts in almost imperceptibly across the take.
Her expression follows the meaning of the words: steady at first, then
softer, then still. Behind her, a small red ON AIR panel glows. She
finishes, sits back, and takes the headphones off.

[06 · ltx-2-3-pro · 1080x1920 · 24 fps · length = input audio, up to 20 s · audio-to-video · vertical]
A vertical shot of a street drummer on an upturned plastic crate at the
mouth of an underpass, lit by a hard sodium light above and behind him.
He is in his twenties, sleeveless, a towel around his neck, playing on
paint tins and a cracked cymbal. The camera starts at a low three-quarter
angle and arcs slowly around him as he plays, keeping his hands in frame.
Passers-by cross behind in soft focus. His movements land on the beat of
the supplied track; hits fall with the accents, and he holds still on the
rests. The arc completes at a frontal medium shot and stops there.

[07 · ltx-2-3-pro · 3840x2160 · 25 fps · 10 s · text-to-video · product hero]
A slow overhead shot of a matte black wristwatch on a slab of wet slate,
lit by one soft source from the upper left and nothing else. Water beads
sit on the crystal. The camera descends steadily toward the dial, the
beads growing and separating as it approaches. The second hand sweeps.
The descent stops with the dial filling the centre of the frame, the
bezel edge just inside the border, and holds there without drifting.
Audio: a faint room tone and the mechanical tick of the movement, no music.

[08 · ltx-2-3-pro · 1920x1080 · 24 fps · 10 s · text-to-video · testimonial]
A medium close-up of a man in his thirties, close-cropped beard, navy
crew-neck sweater, seated on a stool against a bare brick wall. One
large soft source off frame left is the only light, and it falls away
across the brick behind him. He looks slightly off-lens and speaks: "We
were rebuilding the same thing every quarter. Nobody had written down
why." He pauses, glances down, then back up. The camera pushes in four
inches and stops. He nods once and settles.
Audio: quiet room tone, no music, no ambience beyond the room.

[09 · ltx-2-3-pro · 1920x1080 · 48 fps · 10 s · text-to-video · high frame rate]
A tracking shot alongside a cyclocross rider carrying her bike up a
muddy bank, camera moving at her pace and at her shoulder height. She
wears a mud-spattered white and green kit, number 47 pinned at the hip.
Cold flat overcast light, no shadows. Mud sprays from her cleats with
each step. She reaches the top of the bank, drops the bike down, swings
a leg over, and clips in. The camera holds level as she accelerates away
and the frame empties to churned mud and tape.
Audio: heavy breathing, mud underfoot, chain and freewheel, distant cowbells.

[10 · ltx-2-5-pro · 1920x1080 · 24 fps · 8 s · image-to-video]
Animate the supplied frame as one continuous take. The subject stays
where she is. She shifts her weight slightly, turns her head to look off
frame right, and holds there. The steam from the cup on the table
continues rising and bends toward the window. The curtain at frame left
moves once in a draught and settles. The camera pushes in slowly, two or
three inches, and stops before her shoulders leave the frame. No cut, no
change of location, no new light source.
Audio: room tone, a radiator ticking, faint street noise through glass.

[11 · ltx-2-3-pro · 1920x1080 · 24 fps · 10 s · image-to-video with last_frame_uri]
A single continuous take that begins exactly on the supplied first frame
and ends exactly on the supplied last frame. The camera makes one
uninterrupted move between them, easing out of the opening framing and
settling into the closing one without overshooting or reversing. The
subject moves once, early, then holds. Light and wardrobe stay identical
throughout. Nothing enters or leaves the frame that is not present in
one of the two supplied images.
Audio: one continuous ambience with no change in level.

[12 · ltx-2-5-fast · 1080x1920 · 24 fps · 16 s · image-to-video · vertical]
Animate the supplied vertical frame as one long continuous take with no
cut. The subject in the foreground begins the action already implied by
his posture and carries it through to a stop. The camera holds his
position in the lower third and drifts upward slowly across the take,
revealing more of the space above him, and comes to rest when the top of
the structure behind him is fully in frame. He completes the action,
lowers his hands, and looks up. The camera stops moving and holds for
the final two seconds.
Audio: one continuous outdoor ambience, no music, no dialogue.

[13 · ltx-2-5-fast · 1920x1080 · 24 fps · 12 s · text-to-video · two shots]
A wide shot frames a snow-covered petrol station forecourt at dusk, one
pump lit, the shop window yellow behind it. A woman in a long grey coat
and red woollen hat stands at the pump with the nozzle in the tank,
breath clouding, watching the numbers climb. Wind and the tick of the
pump fill the air. A hard cut transitions to a medium close-up of the
same woman in the red woollen hat seen from inside the shop through the
glass, the numbers reflected across it; the wind drops away and shop
radio takes over. She looks up, meets the eye of someone off frame
inside, and raises a hand in a small greeting.

[14 · ltx-2-5-fast · 1920x1080 · 24 fps · 20 s · text-to-video · three shots]
A wide establishing shot of a boatyard at first light, hulls up on
cradles, frost on the tarpaulins, a single figure crossing the yard with
a toolbox. Gulls and halyards ring in the wind. The view cuts to a
close-up of his hands opening the toolbox on an upturned crate, the same
frost visible on the metal; the gulls continue, the wind quieter behind
the hull. He lifts out a scraper and turns it over. A hard cut
transitions to a medium shot of the man, mid-fifties, oilskin jacket and
a grey watch cap, working the scraper along the hull in long strokes,
flakes of old paint falling past the lens; the wind returns to full
level and the halyards ring again. He stops, steps back, and looks up at
the length of the hull.

[15 · ltx-2-5-pro · 1920x1080 · 24 fps · 10 s · text-to-video · audio stated at the cut]
A close-up of a violin case being opened on a bed, the instrument dull
with dust, a folded programme tucked beside the neck. Quiet room tone
only, no music. A match cut connects the shape of the violin to the
shape of a hospital chart hanging at the foot of a bed in a bright ward;
the room tone gives way to a low ventilator rhythm and distant footsteps.
A woman in her thirties, dark plait over one shoulder, stands at the end
of the bed holding the folded programme from the case. She looks at it,
then folds it away into her coat pocket, and the ventilator continues
underneath.

[16 · ltx-2-3-pro · 1920x1080 · retake · mode replace_video · section ≥ 2 s]
In this section only, the man in the grey overcoat keeps both hands in
his pockets and does not gesture. His head turns once to the left,
slowly, and stops. Everything else in the frame is unchanged: same
lighting from the window at frame left, same wardrobe, same background,
same camera position. No new objects enter the frame.

[17 · ltx-2-3-pro · 1920x1080 · retake · mode replace_audio · section ≥ 2 s]
Over this section, replace the audio with quiet interior room tone, a
radiator ticking twice, and one distant car passing outside. No music,
no dialogue, no footsteps. The level stays constant and matches the
ambience either side of the section.

[18 · ltx-2-3-pro · preserves input resolution · extend · mode end · 6 s]
Continue directly from the final frame with no cut. The woman stays in
the same position and finishes the movement she has begun, then comes to
rest. The camera completes its move, slows, and stops. Light, wardrobe
and background remain exactly as they are at the end of the input. The
final two seconds are still, with only the ambient motion already
present in the scene.

[19 · ltx-2-3-pro · preserves input resolution · extend · mode start · 4 s]
Generate the moments immediately before the first frame, ending exactly
on it. The scene is already established and unchanged: same location,
same light, same wardrobe. The subject arrives into the framing the
input begins with, settles, and is still by the time the input starts.
The camera is already in its opening position and does not move.

{
  "video_uri": "https://example.com/your-1920x1080-master.mp4",
  "model": "ltx-2-3-pro",
  "resolution": "1080x1920"
}

[20 · any variant · reusable header — paste above any single take]
Single continuous take, no cuts. Present tense throughout. One named
light source, consistent for the whole clip. The camera move states
where it starts, what it passes, and where it stops. The final two
seconds are a settling action, not a new beat. No on-screen text.

[21 · any variant · reusable identity block — repeat verbatim at each beat]
IDENTITY: age and build, hair, one garment named with colour and
material, one distinguishing feature. Repeat this description in full at
every beat rather than referring back to it.
LIGHT: one source, named, with its direction. Describe its effect again
after each camera move.
AUDIO: one continuous soundscape - ambient bed, one intermittent
element, and either named music or explicitly none.

[22 · open-source pipelines · Dub-It IC-LoRA · speech replacement]
A woman speaking in Spanish, saying: "Grabamos esto tres veces antes de
que saliera bien, y la tercera fue la unica que nadie miro."

{
  "model": "ltx-2-5-fast",
  "prompt": "<a beat schedule, not a description>",
  "duration": null,
  "resolution": "1280x720",
  "fps": 24,
  "generate_audio": true
}