Wan 3.0 Video online

const res = await fetch('https://getrun.id/v1/tasks', {
  method: 'POST',
  headers: {
    Authorization: 'Bearer YOUR_API_KEY',
    'Idempotency-Key': 'my-task-001',
    'Content-Type': 'application/json',
  },
  body: JSON.stringify({
    "model": "wan/3-0-video",
    "input": {
      "prompt": "Generate an approximately 30-second, 16:9 horizontal high-aesthetic urban MG chase short film. Image1 @Image1 is used as the reference for the city space, neon atmosphere, road structure, and overall visual texture; Image2 @Image2 is the only reference for the male character appearance; Image3 @Image3 is the only reference for the female character appearance. Strictly maintain the consistency of both characters' faces, hairstyles, body shapes, clothing structures, color palettes, and visual identity.\n【Overall Style】\nHigh-end motion graphics dynamic illustration style, combining flat MG graphic language, refined 2.5D spatial layering, and restrained 3D volume. The overall style should not be a realistic live-action film, not childish cartoon style, and not messy heavy industrial cyberpunk. The atmosphere should be stylish, cool, beautiful, tense, and eye-catching, like an action-movie-level urban chase promotional short film. The camera language should heavily use handheld tracking shots, rapid whip pans, snap zooms, low-angle ground-level shots, backward tracking shots, whip transitions, and occasional drone wide shots, creating a strong sense of pursuit pressure.\n【Character Action Logic】\nThe female character's advantage is lightness, speed, agility, and using the environment and route changes to escape. The male character's advantage is strength, prediction, pressure, and interception ability. Both characters are martial arts experts, so the confrontation should not be chaotic grabbing, but a battle around the glowing ball involving \"grabbing, blocking, redirecting force, switching hands, using momentum, turning, dodging, and counterattacking.\" The female character often uses turning movements, force redirection, route changes, and environmental obstacles to create distance; the male character often uses early positioning, wrist interception, body blocking, route sealing, and close-range suppression.\n【Glowing Ball】\nThe glowing ball can be held in one hand, with a white core and soft purple-pink-blue halo. It is the only target being fought over throughout the entire film. The glowing ball should realistically illuminate the hands, facial edges, clothing, and surrounding environment. There is always only one glowing ball. Its size remains consistent. It never duplicates, disappears, or deforms. During movement, it only creates short, clean light trails.\n【0.0-4.0 seconds | City traversal and female character introduction】\nThe camera begins with a high-speed flight through a city nightscape, passing through skyscrapers, neon signs, and road lights, then diving along the main road into the urban district, crossing traffic, and rapidly lowering to street level. As the camera suddenly stops, the female character rushes into frame from the side, tightly holding the glowing ball.\nFirst show a series of fast close-up shots: footsteps, the hand gripping the ball, her backward glance, and her forward-running upper-body posture. She is not casually running; she is clearly escaping, quickly observing both the route ahead and behind her, showing that she knows someone is chasing her.\n【4.0-8.0 seconds | Male interception, first close-range confrontation】\nWhen the female character enters a narrow street passage, the male character cuts in from another route ahead, showing that he is not blindly chasing but predicting and intercepting.\nAfter seeing the male character, the female character does not stop immediately. Instead, she attempts to diagonally change direction and bypass him. The male character immediately reaches out and grabs the wrist holding the glowing ball, with the clear goal of taking the ball.\nThe female character instantly pulls her arm back to protect the ball, while using the pulling force to rotate her body around the outside of his grabbing hand, creating the first force-redirection movement. The male character immediately switches his other hand toward the ball route and uses his shoulder to block her escape path.\nThe female character lowers her center of gravity, slides underneath his arm, and before escaping position, lightly blocks his chest with her forearm to create half a step of space. The male character catches up again and briefly touches the ball but fails to secure it.\nThe camera stays close to both characters, using handheld close-ups, rapid zooms, and small circular movements, always focusing around the glowing ball and hand movements. Finally, the female character performs a fast turn to escape the male character and continues running forward.\n【8.0-13.0 seconds | Entering the crowd, female character uses the environment】\nThe female character rushes into a crowded area. She does not run randomly, but intentionally chooses a complex environment because she is more agile than the male character.\nShe first moves sideways between two pedestrians, then uses roadside stalls and railings to quickly change direction, making it difficult for the male character to approach directly.\nThe male character continues chasing through the crowd without slowing down, occasionally pushing through shoulders to create pressure. The camera mainly uses wide-angle handheld close-follow shots. The frame can be briefly blocked by pedestrians, creating a realistic chaotic feeling.\nAt one point, the male character grabs the back of the female character's coat. The female character does not pull backward forcefully. Instead, she uses the pulling force to rotate sideways, redirects the force, then uses her elbow to push away his forearm before slipping past his side.\nThe two have their second close confrontation inside the crowd: the male character grabs the female character's forearm with one hand and reaches for the glowing ball with the other. The female character raises the ball-holding hand to avoid the grab, locks his wrist with her other hand, rotates her body in the opposite direction, and uses momentum to pull him slightly off balance.\nThe female character slips away from his side and escapes again.\n【13.0-16.5 seconds | Entering traffic, switching to bicycles】\nAfter escaping the crowd, the female character reaches the edge of the main road. She realizes continuing on foot will allow the male character to catch up, so she immediately changes transportation.\nShe grabs the handlebar of a bicycle parked nearby and uses her forward momentum to jump onto it, immediately beginning to ride without stopping.\nThe male character exits moments later, quickly grabs another bicycle and continues the pursuit.\nUse a brief wide shot to establish the space: city skyscrapers, main roads, traffic flow, and both characters' routes. Then immediately return to a low-angle perspective and enter a high-speed bicycle chase.\n【16.5-24.0 seconds | Bicycle chase through traffic and third confrontation】\nThe female character's cycling route is more flexible. She rides close to cars, changes lanes, leans the bicycle, and cuts diagonally through traffic gaps to create distance.\nThe male character's route is more direct and aggressive, constantly reducing the straight-line distance.\nThe camera alternates between ground-level tracking shots, backward tracking shots, high-speed side movements, and brief aerial perspectives.\nThe traffic should react realistically to the chase: when the characters pass near car fronts, vehicles brake suddenly, lights turn on, horns sound, and drivers slightly avoid them, creating a sense of danger.\nDuring the bicycle chase, the male character first reaches side-by-side and reaches for the glowing ball. The female character does not immediately pull away. Instead, she intentionally keeps the ball slightly outward for half a beat, causing the male character to extend his body further.\nWhen his balance shifts, the female character suddenly leans the bicycle and changes direction, causing him to miss.\nDuring the second approach, the male character becomes smarter. He uses a slowing vehicle to block the female character's escape route, then approaches from the side rear and almost grabs her wrist holding the ball.\nThis time the female character does not resist directly. She quickly switches the ball to the other hand, uses the bicycle handlebar for a half-turn movement, and slides away from the male character's reach.\nThe two bicycles nearly collide. The camera should create strong speed and danger.\n【24.0-27.5 seconds | Final pressure and female escape】\nThe traffic becomes more complicated at the intersection ahead.\nThe male character uses his straight-line speed advantage again and nearly reaches the female character's shoulder from behind.\nThe female character notices a large bus crossing horizontally and a line of suddenly stopping vehicles, instantly recognizing an escape opportunity.\nShe intentionally maintains her original route to keep the male character locked onto her position. When he gets close, she suddenly leans the bicycle and cuts through the narrow gap between the front of a braking car and the bus.\nThe male character reacts slightly slower and is forced to slow down and detour because of the angle between the car and bus.\nThe camera quickly pans and becomes completely blocked by the side of the bus, creating a natural transition.\n【27.5-30.0 seconds | Ending】\nAfter the bus passes, the male character rushes out but discovers that the female character has already created distance.\nIn the distant neon street corner, only a rapidly moving glowing ball remains visible.\nThe camera quickly pushes toward the distance. The female character briefly looks back in the deeper neon street, showing a slightly proud and relaxed expression, then continues riding away with the glowing ball.\nFinally, the camera slowly rises and pulls away, revealing the busy night city, continuous traffic flow, and the disappearing light point in the distance. The female character successfully escapes.\n【Camera Movement Requirements】\n70% of the entire film should have handheld camera feeling. Do not make it overly stabilized.\nClose-range confrontation scenes should mainly use handheld shots, rapid push-ins and pull-outs, and small circular movements.\nCrowd chase scenes should strengthen obstruction, blocking, and breathing rhythm.\nTraffic chase scenes should emphasize low-angle shots, opposing movement, rapid zooms, and sudden braking atmosphere.\nWide shots are only used to establish space and provide pacing breaks.\nThe camera should always serve the ownership of the glowing ball, the distance between the two characters, and the direction of pursuit. Do not add meaningless flashy rotations.",
      "resolution": "1080P",
      "aspect_ratio": "adaptive"
    }
  }),
});
const task = await res.json();

import requests

res = requests.post(
    "https://getrun.id/v1/tasks",
    headers={
        "Authorization": "Bearer YOUR_API_KEY",
        "Idempotency-Key": "my-task-001",
    },
    json={
      "model": "wan/3-0-video",
      "input": {
        "prompt": "Generate an approximately 30-second, 16:9 horizontal high-aesthetic urban MG chase short film. Image1 @Image1 is used as the reference for the city space, neon atmosphere, road structure, and overall visual texture; Image2 @Image2 is the only reference for the male character appearance; Image3 @Image3 is the only reference for the female character appearance. Strictly maintain the consistency of both characters' faces, hairstyles, body shapes, clothing structures, color palettes, and visual identity.\n【Overall Style】\nHigh-end motion graphics dynamic illustration style, combining flat MG graphic language, refined 2.5D spatial layering, and restrained 3D volume. The overall style should not be a realistic live-action film, not childish cartoon style, and not messy heavy industrial cyberpunk. The atmosphere should be stylish, cool, beautiful, tense, and eye-catching, like an action-movie-level urban chase promotional short film. The camera language should heavily use handheld tracking shots, rapid whip pans, snap zooms, low-angle ground-level shots, backward tracking shots, whip transitions, and occasional drone wide shots, creating a strong sense of pursuit pressure.\n【Character Action Logic】\nThe female character's advantage is lightness, speed, agility, and using the environment and route changes to escape. The male character's advantage is strength, prediction, pressure, and interception ability. Both characters are martial arts experts, so the confrontation should not be chaotic grabbing, but a battle around the glowing ball involving \"grabbing, blocking, redirecting force, switching hands, using momentum, turning, dodging, and counterattacking.\" The female character often uses turning movements, force redirection, route changes, and environmental obstacles to create distance; the male character often uses early positioning, wrist interception, body blocking, route sealing, and close-range suppression.\n【Glowing Ball】\nThe glowing ball can be held in one hand, with a white core and soft purple-pink-blue halo. It is the only target being fought over throughout the entire film. The glowing ball should realistically illuminate the hands, facial edges, clothing, and surrounding environment. There is always only one glowing ball. Its size remains consistent. It never duplicates, disappears, or deforms. During movement, it only creates short, clean light trails.\n【0.0-4.0 seconds | City traversal and female character introduction】\nThe camera begins with a high-speed flight through a city nightscape, passing through skyscrapers, neon signs, and road lights, then diving along the main road into the urban district, crossing traffic, and rapidly lowering to street level. As the camera suddenly stops, the female character rushes into frame from the side, tightly holding the glowing ball.\nFirst show a series of fast close-up shots: footsteps, the hand gripping the ball, her backward glance, and her forward-running upper-body posture. She is not casually running; she is clearly escaping, quickly observing both the route ahead and behind her, showing that she knows someone is chasing her.\n【4.0-8.0 seconds | Male interception, first close-range confrontation】\nWhen the female character enters a narrow street passage, the male character cuts in from another route ahead, showing that he is not blindly chasing but predicting and intercepting.\nAfter seeing the male character, the female character does not stop immediately. Instead, she attempts to diagonally change direction and bypass him. The male character immediately reaches out and grabs the wrist holding the glowing ball, with the clear goal of taking the ball.\nThe female character instantly pulls her arm back to protect the ball, while using the pulling force to rotate her body around the outside of his grabbing hand, creating the first force-redirection movement. The male character immediately switches his other hand toward the ball route and uses his shoulder to block her escape path.\nThe female character lowers her center of gravity, slides underneath his arm, and before escaping position, lightly blocks his chest with her forearm to create half a step of space. The male character catches up again and briefly touches the ball but fails to secure it.\nThe camera stays close to both characters, using handheld close-ups, rapid zooms, and small circular movements, always focusing around the glowing ball and hand movements. Finally, the female character performs a fast turn to escape the male character and continues running forward.\n【8.0-13.0 seconds | Entering the crowd, female character uses the environment】\nThe female character rushes into a crowded area. She does not run randomly, but intentionally chooses a complex environment because she is more agile than the male character.\nShe first moves sideways between two pedestrians, then uses roadside stalls and railings to quickly change direction, making it difficult for the male character to approach directly.\nThe male character continues chasing through the crowd without slowing down, occasionally pushing through shoulders to create pressure. The camera mainly uses wide-angle handheld close-follow shots. The frame can be briefly blocked by pedestrians, creating a realistic chaotic feeling.\nAt one point, the male character grabs the back of the female character's coat. The female character does not pull backward forcefully. Instead, she uses the pulling force to rotate sideways, redirects the force, then uses her elbow to push away his forearm before slipping past his side.\nThe two have their second close confrontation inside the crowd: the male character grabs the female character's forearm with one hand and reaches for the glowing ball with the other. The female character raises the ball-holding hand to avoid the grab, locks his wrist with her other hand, rotates her body in the opposite direction, and uses momentum to pull him slightly off balance.\nThe female character slips away from his side and escapes again.\n【13.0-16.5 seconds | Entering traffic, switching to bicycles】\nAfter escaping the crowd, the female character reaches the edge of the main road. She realizes continuing on foot will allow the male character to catch up, so she immediately changes transportation.\nShe grabs the handlebar of a bicycle parked nearby and uses her forward momentum to jump onto it, immediately beginning to ride without stopping.\nThe male character exits moments later, quickly grabs another bicycle and continues the pursuit.\nUse a brief wide shot to establish the space: city skyscrapers, main roads, traffic flow, and both characters' routes. Then immediately return to a low-angle perspective and enter a high-speed bicycle chase.\n【16.5-24.0 seconds | Bicycle chase through traffic and third confrontation】\nThe female character's cycling route is more flexible. She rides close to cars, changes lanes, leans the bicycle, and cuts diagonally through traffic gaps to create distance.\nThe male character's route is more direct and aggressive, constantly reducing the straight-line distance.\nThe camera alternates between ground-level tracking shots, backward tracking shots, high-speed side movements, and brief aerial perspectives.\nThe traffic should react realistically to the chase: when the characters pass near car fronts, vehicles brake suddenly, lights turn on, horns sound, and drivers slightly avoid them, creating a sense of danger.\nDuring the bicycle chase, the male character first reaches side-by-side and reaches for the glowing ball. The female character does not immediately pull away. Instead, she intentionally keeps the ball slightly outward for half a beat, causing the male character to extend his body further.\nWhen his balance shifts, the female character suddenly leans the bicycle and changes direction, causing him to miss.\nDuring the second approach, the male character becomes smarter. He uses a slowing vehicle to block the female character's escape route, then approaches from the side rear and almost grabs her wrist holding the ball.\nThis time the female character does not resist directly. She quickly switches the ball to the other hand, uses the bicycle handlebar for a half-turn movement, and slides away from the male character's reach.\nThe two bicycles nearly collide. The camera should create strong speed and danger.\n【24.0-27.5 seconds | Final pressure and female escape】\nThe traffic becomes more complicated at the intersection ahead.\nThe male character uses his straight-line speed advantage again and nearly reaches the female character's shoulder from behind.\nThe female character notices a large bus crossing horizontally and a line of suddenly stopping vehicles, instantly recognizing an escape opportunity.\nShe intentionally maintains her original route to keep the male character locked onto her position. When he gets close, she suddenly leans the bicycle and cuts through the narrow gap between the front of a braking car and the bus.\nThe male character reacts slightly slower and is forced to slow down and detour because of the angle between the car and bus.\nThe camera quickly pans and becomes completely blocked by the side of the bus, creating a natural transition.\n【27.5-30.0 seconds | Ending】\nAfter the bus passes, the male character rushes out but discovers that the female character has already created distance.\nIn the distant neon street corner, only a rapidly moving glowing ball remains visible.\nThe camera quickly pushes toward the distance. The female character briefly looks back in the deeper neon street, showing a slightly proud and relaxed expression, then continues riding away with the glowing ball.\nFinally, the camera slowly rises and pulls away, revealing the busy night city, continuous traffic flow, and the disappearing light point in the distance. The female character successfully escapes.\n【Camera Movement Requirements】\n70% of the entire film should have handheld camera feeling. Do not make it overly stabilized.\nClose-range confrontation scenes should mainly use handheld shots, rapid push-ins and pull-outs, and small circular movements.\nCrowd chase scenes should strengthen obstruction, blocking, and breathing rhythm.\nTraffic chase scenes should emphasize low-angle shots, opposing movement, rapid zooms, and sudden braking atmosphere.\nWide shots are only used to establish space and provide pacing breaks.\nThe camera should always serve the ownership of the glowing ball, the distance between the two characters, and the direction of pursuit. Do not add meaningless flashy rotations.",
        "resolution": "1080P",
        "aspect_ratio": "adaptive"
      }
    },
)
task = res.json()