Kling 3.0 is built for bodies in motion: sprints, falls, fights and crowds that move like real crowds. It also carries characters through its elements system, where each character is supplied as a front photo plus extra angles. The prompts below name their characters. Save a character in the RevaultAI Vault under that name with two or three photos from different angles, and when you generate on Kling the platform sends them as elements automatically — no reference codes to type. Each prompt is written for Kling's 5- or 10-second lengths.
New in RevaultAI: everything around the prompt. Block the scene first in the free Rehearsal Studio — performers and cameras on a timeline, seen through the lens you'll shoot on. Save your characters in the Vault with photos from several angles, and Kling receives every angle as an element. Test a shot's framing at half the credits on Seedance's Draft tier before committing, then export an EDL that opens already cut in Premiere Pro or DaVinci Resolve.
A fast handheld tracking shot chasing a young courier sprinting through a dense night market, camera at shoulder height on a 24mm lens, weaving between stalls and bodies at full running speed. Hundreds of shoppers fill the frame with individual, non-repeating behavior — turning heads, stepping aside, colliding, recoiling — while hanging bulbs and neon signage streak past. The courier vaults a produce crate with correct body mechanics and lands with visible impact absorption through the knees. Steam from food stalls bursts across the lens. Saturated reds and greens against wet pavement, heavy motion blur, whip-pan on the final turn, roaring ambient crowd noise.
A continuous kinetic tracking shot of a brutal hand-to-hand fight descending a narrow concrete stairwell, camera tight at 18mm, moving with the combatants and absorbing their impacts. Two fighters exchange grappling strikes with full-body weight transfer — shoulders driving, feet resetting, bodies slamming into railings that shudder on impact. Dust falls from the ceiling with each collision. One fighter is thrown down half a flight and lands hard with realistic momentum and recovery. Bare bulbs swing violently from the impacts, throwing wildly moving shadows. Desaturated concrete palette, harsh raking light, aggressive handheld motion, visceral impact sound design.
A sweeping crane shot rising above a packed stadium terrace the instant a goal is scored, 35mm lens, camera lifting and pushing forward over a crowd of thousands. Individual spectators react with distinct, non-uniform motion — arms thrown up at different moments, some leaping, some frozen, scarves and flags whipping upward in a chaotic wave. Confetti and paper streamers launch with accurate ballistic arcs and drift. Floodlights flare across the lens as the camera rises into their beam. Cold stadium white light against the color mass of the crowd, deep depth of field to hold the full scale, thunderous ambient roar.
An aggressive continuous chase shot following two figures sprinting across a Hong Kong rooftop at dusk, camera flying behind them at 21mm, matching their pace and vaulting the gaps they clear. Laundry lines and antenna arrays whip past the lens. The lead runner leaps a two-meter gap between buildings — full-body extension, arms driving, landing with a genuine roll and a scrabbling recovery on gravel that scatters underfoot. Air-conditioning units shudder as they push off them. Golden low sun rakes across the rooftops, long hard shadows, dust and grit kicked into the light. Handheld urgency, natural motion blur, wind and breath in the audio.
A low-angle tracking shot at knee height moving backward ahead of a mass of protestors surging forward down a wide avenue, 28mm lens, camera retreating at pace to stay just in front of the front rank. Hundreds of individuals fill the depth of the frame with distinct gaits, gestures, and collisions — banners lurching, one figure stumbling and being pulled upright by another. Tear gas canisters trail smoke that billows and shears across the crowd with convincing fluid dynamics. Overturned barricades scrape and shift under the press of bodies. Overcast flat daylight, desaturated palette, hard handheld shake, overwhelming ambient shouting and footfall.
An aggressive handheld chase shot following a courier sprinting through a rain-flooded neon canyon at street level, camera at 21mm running behind and slightly below, matching pace and taking impacts. Dense crowds of pedestrians under transparent umbrellas react individually — turning, recoiling, breaking apart around the runner with distinct non-repeating motion. He slides across the hood of a stopped hovercar with genuine body mechanics and recovers into a full stride. Spray fans from every footfall. Saturated magenta and cyan reflections churning across black water, heavy motion blur, whip-pan at the corner, roaring rain and crowd audio.
A low-angle tracking shot at knee height retreating ahead of a medieval shield wall collapsing under cavalry impact, 28mm lens, camera moving fast to stay just ahead of the crush. Hundreds of armored infantry fill the frame in depth with distinct individual motion — bracing, stumbling, being driven backward, shields splintering. Horses collide with the line with full mass and momentum, riders pitching forward with realistic body physics. Mud sprays and clods arc through the air with accurate ballistics. Overcast flat daylight, desaturated steel and earth palette, violent handheld shake, deep depth of field to hold the scale, overwhelming ambient roar and impact.
A continuous kinetic shot following a dancer falling upward through a rotating corridor whose orientation shifts every few seconds, camera tumbling with her at 18mm, maintaining her centered as the world revolves around them both. Her body moves with full athletic commitment — extension, contraction, controlled landings against surfaces that become floors the instant she touches them. Loose fabric and scattered paper move with correct physics relative to each shifting gravity vector. Hard directional light rotates with the architecture, sweeping across her at speed. Saturated primary color blocking against white void, aggressive camera motion, motion blur, percussive sound design synced to each impact.
A frantic handheld camcorder shot sprinting down a long institutional corridor, camera swinging wildly at 24mm as the operator runs, onboard light strobing across peeling walls and doorframes. Three other figures run ahead, their gaits distinct and panicked, one glancing back mid-stride with full-body torsion. A door is shoulder-charged open with real force and rebounds off the wall. Loose debris scatters and skitters underfoot with accurate physics. Overexposed hotspot with crushed black edges, severe motion blur, digital noise, timecode overlay, audio of pounding footfalls, ragged breathing, and something heavy keeping pace behind.
A fast crane-down into a market square as a crowd of hundreds turns from commerce to panic in a single continuous movement, 35mm lens, camera descending from high wide into the thick of the crowd at head height. Individuals react at staggered intervals with entirely distinct behavior — some running, some frozen, some pushing against the flow. Market stalls collapse under the press with correct structural failure, produce scattering and rolling with accurate physics. Fabric awnings tear and whip. Hard midday sun, high contrast, dust kicked into the light beams, handheld chaos once the camera lands, deafening layered crowd audio.
An aggressive handheld tracking shot at shoulder height on a 24mm lens, chasing Tomás Ferreira as he sprints through a police cordon into a packed night market. Tomás Ferreira is a man in his mid-twenties, brown skin, shaved head, a thin silver hoop in the left ear, wiry build, wearing a black nylon courier jacket with a reflective stripe across the back, gray cargo shorts and a canvas satchel worn across the body from right shoulder to left hip. Hundreds of shoppers fill the frame with individual, non-repeating behavior — turning, stepping aside, colliding, recoiling — under strings of bare bulbs and hanging neon signage. He vaults a produce crate with correct body mechanics, the satchel swinging out and back with accurate mass and returning to the same crossed position on landing. Steam bursts across the lens from a food stall camera-left. Saturated reds and greens over wet pavement, heavy motion blur, roaring crowd audio.
Continuity note: The satchel is described with an explicit orientation and stated to return to that position after the vault, which stops a following shot from flipping the strap to the other shoulder without it reading as an error. Because crowd behavior is specified as non-repeating rather than as a fixed arrangement, an audit won't flag the changing background as drift while still holding the foreground character to the letter.
A continuous kinetic tracking shot of a hand-to-hand fight descending a narrow concrete stairwell, camera tight at 18mm, moving with the combatants and absorbing their impacts. Ivo Karadžić is a man in his forties, pale skin, broken nose set slightly to the left, close-cropped dark hair going gray at the temples, heavy build, wearing a torn white undershirt and dark work trousers with a split at the right knee. He grapples with a second fighter in a black bomber jacket. Weight transfers fully through the shoulders and hips, feet resetting between strikes; bodies slam into a steel railing that shudders on impact and dust falls from the ceiling with each collision. Ivo is thrown down half a flight and lands hard with realistic momentum and recovery, the split at the right knee widening. Bare bulbs swing violently from the impacts, throwing wildly moving shadows. Desaturated concrete palette, harsh raking light, aggressive handheld motion.
Continuity note: Damage is written as a progression — the split at the right knee exists before the fall and widens because of it — which gives an audit a causal chain rather than an unexplained change of wardrobe between shots. The broken nose is specified as set to the left, so a reverse angle that mirrors the character's face is caught rather than passing as a lighting difference.
A low-angle tracking shot at knee height on a 28mm lens, retreating ahead of a mass of protestors surging down a wide avenue at midday. At the front rank is Nadia Belkacem, a woman in her thirties, light brown skin, dark hair tied back with a red bandana knotted at the nape, wearing a faded army-green jacket with a torn left sleeve over a white shirt and carrying a folded cardboard placard in her right hand. Hundreds of individuals fill the depth of the frame with distinct gaits, gestures and collisions; one figure stumbles and is pulled upright by another. Tear gas canisters trail smoke that billows and shears across the crowd with convincing fluid dynamics. Overturned barricades scrape and shift under the press of bodies. Overcast flat daylight, no direct sun, desaturated palette, hard handheld shake, overwhelming ambient shouting and footfall.
Continuity note: The placard is pinned to a specific hand and the sleeve tear to a specific side, which are exactly the details that migrate across shots when a description says only "carrying a sign" or "torn jacket". Declaring the light as overcast with no direct sun sets a soft, directionless key that a later shot cannot contradict with hard shadows without the audit catching it.
Set frame and length: 16:9 · 10 seconds
Kinetic tracking shot across wet city rooftops at night, 24mm lens, the camera racing alongside Mara, a lean young woman in a black windbreaker and climbing shoes. She sprints toward the roof edge, plants one foot on the low parapet and launches across a two-meter gap between buildings. The camera tracks her mid-air in profile against the lit skyline, then she lands in a forward roll across gravel, comes up running without breaking stride and disappears behind an air-conditioning unit. Real weight and momentum in the take-off and landing, jacket snapping in the wind, gravel scattering. Cold blue moonlight, warm orange city glow from below, rain-slick surfaces reflecting neon, slight motion blur.
Set frame and length: 16:9 · 10 seconds
A crane shot descending over a packed football stadium at night as a last-minute goal goes in. Wide 21mm lens starting high above the stands, then craning down toward the lower tier. Tens of thousands of fans in red and white erupt at once: arms thrown up, scarves swinging, people climbing on seats, a wave of bodies pushing forward against the barrier. Flares burn crimson in the crowd, their smoke drifting up through the floodlight beams. The crowd moves as a real crowd does, with pockets of individual reaction inside the mass, not in unison. Harsh white stadium floodlights, red flare glow, smoke catching the light, dense, detailed and chaotic.
Set frame and length: 16:9 · 10 seconds
A close-quarters fight in a crowded daytime street market, handheld 35mm lens, whip pans following the action. Dev, a stocky man in a gray work shirt, shoves Iko, a wiry teenager in a red track jacket, backwards into a fruit stall; oranges spill and roll across the ground. Iko ducks a swinging punch, slips under Dev's arm and shoves him into a stack of plastic crates that topple. Shoppers scatter and shout, a vendor waves his arms, and the camera weaves between bodies to keep both fighters in frame. Grounded, weighty choreography, no superhuman moves. Harsh overhead sun, deep shadows under awnings, saturated fruit colors, dust in the air.
Set frame and length: 16:9 · 5 seconds
Telephoto 135mm shot straight down a crowded subway platform at rush hour, compressing the crowd into a dense wall of commuters walking toward camera. In the center, Mara walks the opposite way, away from the lens, head down, shoulders brushing past people who turn and step around her. The crowd moves naturally, each person at their own pace, some checking phones, one man dodging with a coffee held high. A train pulls in on frame right, its doors opening in a rush of air that lifts hair and coats. Cold fluorescent lighting, slight green cast, compressed depth, shallow focus with Mara sharp and the crowd around her softening.
Set frame and length: 16:9 · 10 seconds
Low tracking shot inches above wet cobblestones, 18mm lens, chasing a motorcycle through a narrow night alley. Dev rides a battered café racer, leaning hard into a right-angle turn; the rear tyre kicks spray and the bike skids before gripping again. The camera races behind at wheel height as he threads between overflowing bins and a parked delivery van, sparks flicking up as a footpeg scrapes the ground. At the end of the alley he bursts out into a bright avenue and the camera pulls up and away. Realistic bike physics and weight shift, spray and sparks catching the light. Sodium orange streetlights, a red rear lamp streaking, puddles reflecting neon signs, strong motion blur at the frame edges.
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