Luma Ray3.2 Prompting Guide
Luma Ray3.2 is known for natural motion, believable physics and cinematic camera work. Use it for text to video or image to video, and try ideas in cheap 360p drafts before a final render.
Water, fabric, hair and vehicles move the way you expect, so shots feel real instead of floaty.
Tracking shots, orbits, pushes and drone moves all respond to a plain camera line in your prompt.
Give a start frame and an end frame to say exactly where a shot begins and where it ends.
Try an idea at 360p for a small cost. When the shot works, render it at up to 1080p.
Write one short paragraph with five parts. You do not need long prompts. Clear beats long.
Who or what is in the shot, and one detail that makes them specific: a color, a fabric, a place.
What moves and how: slow motion, a drift, a spin, a hover. Name the thing that moves.
Tracking, orbit, push in, pan, drone glide or static. Add the speed and where the shot ends.
Time of day, direction and color of the light. Light sets most of the look.
One or two words for the feeling, such as calm, glamorous or tense.
Fill in each part, then change one part at a time.
Six prompts you can copy. Each one follows the structure above.
A strikingly beautiful woman in her late twenties in a flowing emerald silk gown walks toward the camera down a mirrored runway, slow motion, the fabric rippling behind her, hair lifting in the air. Low tracking shot that backs away at walking pace, shallow depth of field, soft key light with a warm rim light, glamorous and confident mood.
Say "slow motion" and name what moves (fabric, hair). The camera line tells the model how the shot travels.
A red sports car drifts around a wet mountain hairpin at dusk, tires throwing spray, headlights cutting through low mist. Fast tracking shot from the side that pans with the car, then settles behind it as it straightens out. Moody orange and teal light, rain-slick asphalt reflecting the brake lights.
Describe the action in order: the drift, then the camera move, then where the shot settles.
Extreme macro of a hummingbird hovering at a red trumpet flower, wings a soft blur, iridescent green feathers catching the sun, a bead of nectar on its beak. Static camera on a tripod, very shallow focus with creamy bokeh, bright morning light, calm and delicate mood.
A static camera suits fast subjects. Let the subject carry all the motion in the shot.
A drone shot gliding forward over a turquoise glacial lake ringed by jagged snow peaks, clouds casting moving shadows on the water. Slow forward flight with a gentle rise to reveal a waterfall at the far end of the valley, golden hour light, epic and quiet mood.
Use 21:9 for big landscapes. One long, slow move reads as cinematic.
A handsome male dancer in his thirties, wearing loose black trousers and a fitted white shirt, spins in a bare concrete studio holding a long sheet of white fabric, the cloth billowing into wide spirals around him. Slow orbit around the dancer at chest height, shafts of window light cutting through floating dust, graceful and powerful mood.
Give the model a prop that shows motion, like fabric or smoke. It makes the physics easy to see.
A matte black wristwatch rises from a pool of dark water on a polished stone pedestal, seen from a three-quarter angle with the dial facing the camera, droplets sliding off the case and sapphire glass. Slow push in toward the dial as a thin beam of light sweeps across the bezel, deep black background, premium and precise mood.
For products, name the material and one light move. Keep the background simple.
A start frame sets the first picture of the shot. Add an end frame to set the last one. Clips made from pictures are 5 seconds long and follow the picture's shape.
Do not describe either picture again. Write what changes between them: the light, the camera, the subject's position.
A shift in light plus a slow push in works well. Ten changes at once get muddled.
Use two pictures of the same scene with the same subject. If the subject differs a lot, the model has to invent the in-between.
Say how the camera travels from start to end, for example "slow push in" or "orbit to the left".
One line for the move, one for what changes.
Test the idea at 360p. When the motion is right, render again at 720p or 1080p.
Use 9:16 for phones, 16:9 for video and 21:9 for wide scenery.
Ask for a single move per clip. Two or three moves in 5 seconds rush the shot.
There is no sound, so skip sound words and add music or voice in your editor.
| Setting | Values | Notes |
|---|---|---|
| Duration | 5 or 10 s | Clips made from a start frame are 5 s. |
| Resolution | 360p, 540p, 720p, 1080p | Draft at 360p, finish at 720p or 1080p. |
| Aspect ratio | 16:9, 9:16, 1:1, 4:3, 3:4, 21:9 | Text to video. A start frame sets its own shape. |
| Images | Start frame, optional end frame | An end frame needs a start frame. |
| Audio | None | Clips are silent. |
No. Clips are silent. Add music or voice afterwards.