{"id":"dd93403c-c65c-4b2a-83c3-c02ec9d7d8a9","revision":0,"last_node_id":156,"last_link_id":300,"nodes":[{"id":92,"type":"SaveVideo","pos":[1150,4880],"size":[1210,2265.9166666666665],"flags":{},"order":34,"mode":0,"inputs":[{"localized_name":"视频","name":"video","type":"VIDEO","link":260},{"localized_name":"文件名前缀","name":"filename_prefix","type":"STRING","widget":{"name":"filename_prefix"},"link":null},{"localized_name":"格式","name":"format","type":"COMBO","widget":{"name":"format"},"link":null},{"localized_name":"编码器","name":"codec","type":"COMFY_DYNAMICCOMBO_V3","widget":{"name":"codec"},"link":null}],"outputs":[{"localized_name":"video","name":"video","type":"VIDEO","links":null}],"properties":{},"widgets_values":["video/MiniMax_H3","auto","auto"]},{"id":116,"type":"MarkdownNote","pos":[-2030,4850],"size":[450,889.6875],"flags":{},"order":0,"mode":0,"inputs":[],"outputs":[],"title":"Note: MiniMax H3","properties":{},"widgets_values":["## MiniMax H3\n\n[MiniMax H3](https://www.minimax.io/blog/minimax-h3) is MiniMax's general-purpose, omni-modal generation model. It jointly understands text, image, video, and audio, and generates video with **native stereo audio**: voice, sound effects, and music are modeled jointly in a single forward pass, not layered on afterward. Output is up to 2K resolution, 24fps, and up to about 15 seconds.\n\n## ComfyUI links\n- [ComfyUI#15224](https://github.com/Comfy-Org/ComfyUI/pull/15224)\n- [🤗 Comfy-Org/MiniMax-H3](https://huggingface.co/Comfy-Org/MiniMax-H3)\n\n## About this workflow\n\nThis template runs the **reference-to-video (ref2va)** task using the `MiniMaxH3ReferenceToVideo` node. It takes any mix of reference images, videos, and standalone audio, and weaves them into the generation to lock in a character's identity, a style, a motion, a camera move, or a voice.\n\n**Key inputs**\n\n- **ref_images / ref_videos / ref_video_audios / ref_audios**: up to 9 reference images, 3 reference videos (each may carry its own paired soundtrack), and 3 standalone reference audio clips\n- **prompt**: reference the inputs by tag, in the exact order they were connected, for example `<Picture 1>`, `<Video 1>`, `<Audio 1>`, then describe the target scene, motion, and audio\n- **ref_image_size**: `match` scales references down to the generation's resolution (faster); `max` keeps up to a 2048px short edge for stronger identity fidelity, at the cost of speed since reference tokens ride along every sampling step\n- **width / height**: set via Resolution Selector.\n- **duration (seconds)**: converted to a valid frame `length` by the Math Expression node\n\n**Sampling and decode**\n\n- Sampler: `res_multistep`. `beta` or `normal` scheduler tends to outperform `simple` for reference-heavy prompts like this one\n- The sampler's joint audio+video `LATENT` output feeds directly into both `VAEDecode` (video, `minimax_h3_video_vae_fp16`) and `VAEDecodeAudio` (audio, `minimax_h3_audio_vae_fp32`); each decode node automatically pulls its own half out of the packed latent. `CreateVideo` then muxes the two into a single MP4 with synced sound\n- The diffusion model here is `minimax_h3_ref2va_pruned_int8_convrot.safetensors`, a different set of weights from the `fl2va` model used by the t2v/i2v templates\n\nRef2va's output is very sensitive to prompt wording; matching the reference tags precisely and being explicit about which reference drives which part of the shot tends to work best."],"color":"#222","bgcolor":"#000"},{"id":117,"type":"MarkdownNote","pos":[-2500,4850],"size":[440,740],"flags":{},"order":1,"mode":0,"inputs":[],"outputs":[],"title":"Note: Model Links","properties":{},"widgets_values":["## Model Links\n[🤗 Comfy-Org/MiniMax-H3](https://huggingface.co/Comfy-Org/MiniMax-H3)\n\n**vae**\n\n- [minimax_h3_video_vae_fp16.safetensors](https://huggingface.co/Comfy-Org/MiniMax-H3/resolve/main/vae/minimax_h3_video_vae_fp16.safetensors)\n- [minimax_h3_audio_vae_fp32.safetensors](https://huggingface.co/Comfy-Org/MiniMax-H3/resolve/main/vae/minimax_h3_audio_vae_fp32.safetensors)\n\n**diffusion_models**\n\n- [minimax_h3_ref2va_pruned_int8_convrot.safetensors](https://huggingface.co/Comfy-Org/MiniMax-H3/resolve/main/diffusion_models/minimax_h3_ref2va_pruned_int8_convrot.safetensors)\n\n**text_encoders**\n\n- [qwen3vl_32b_minimax_h3_nvfp4_awq.safetensors](https://huggingface.co/Comfy-Org/MiniMax-H3/resolve/main/text_encoders/qwen3vl_32b_minimax_h3_nvfp4_awq.safetensors)\n\n\n## Model Storage Location\n\n```\n📂 ComfyUI/\n├── 📂 models/\n│   ├── 📂 vae/\n│   │   ├── minimax_h3_video_vae_fp16.safetensors\n│   │   └── minimax_h3_audio_vae_fp32.safetensors\n│   ├── 📂 diffusion_models/\n│   │   └── minimax_h3_ref2va_pruned_int8_convrot.safetensors\n│   └── 📂 text_encoders/\n│       └── qwen3vl_32b_minimax_h3_nvfp4_awq.safetensors\n```\n\n## Report Issue\n\nNote: Please update ComfyUI first ([guide](https://docs.comfy.org/installation/update_comfyui)) and prepare required models. Desktop/Cloud updates follow stable releases, so some nightly-supported models may not be available yet.\n\n- Cannot run / runtime errors: [ComfyUI/issues](https://github.com/comfyanonymous/ComfyUI/issues)\n- UI / frontend issues: [ComfyUI_frontend/issues](https://github.com/Comfy-Org/ComfyUI_frontend/issues)\n- Workflow issues: [workflow_templates/issues](https://github.com/Comfy-Org/workflow_templates/issues)\n"],"color":"#222","bgcolor":"#000"},{"id":119,"type":"VAELoader","pos":[-1490,5270],"size":[640,70],"flags":{},"order":2,"mode":0,"inputs":[{"localized_name":"vae名称","name":"vae_name","type":"COMBO","widget":{"name":"vae_name"},"link":null}],"outputs":[{"localized_name":"VAE","name":"VAE","type":"VAE","links":[251,273]}],"properties":{"Node name for 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S&R":"PrimitiveStringMultiline"},"widgets_values":["For the target video, at 0.00 seconds into the target video, <Picture 1> (from [Shot 1]) is fully referenced. <Picture 2> is referenced for the walkout sequence, <Picture 3> for the round-card presentation, <Picture 4> and <Picture 6> for the combat exchanges, <Picture 5> for the referee’s opening instructions, and <Picture 7> for the final award sequence.\n\nsubject_definitions:\n\nFighter A:\nThe featured MMA athlete appearing during the entrance and walkout sequences. Preserve his facial identity, hairstyle, athletic physique, gloves, walkout clothing, posture, and focused expression according to <Picture 1> and <Picture 2>. Do not merge his identity with any crew member, spectator, referee, or opposing fighter.\n\nFighter B:\nThe opposing professional MMA athlete shown inside the cage. Preserve his facial identity, hairstyle, physique, gloves, shorts, stance, and fighting role according to the relevant combat reference images. Keep the two fighters visually distinct throughout the fight.\n\nRound-card woman:\nThe woman holding the circular round-one sign in <Picture 3>. Preserve her facial identity, hairstyle, clothing, body proportions, raised-arm pose, walking posture, and the original rigid circular sign.\n\nReferee:\nThe official positioned between the two fighters in <Picture 5>. Preserve his identity, black uniform, gloves, authoritative posture, and neutral professional behavior.\n\nEvent crew and security:\nPreserve their original clothing, equipment, positions, and professional roles. They guide the fighter, control the cage entrance, operate cameras, and monitor the audience through restrained natural actions.\n\nAudience:\nPreserve the density, placement, clothing diversity, and arena role of the spectators. Foreground spectators may react individually, while distant spectators move as coordinated groups to maintain temporal stability.\n\nsummary:\n\nCreate a cinematic 15-second MMA event highlight video that follows a complete narrative progression: dramatic entrance, walkout through the crowd, round-one presentation, referee’s start signal, controlled fight exchanges, a decisive high-kick highlight, and a respectful post-fight trophy presentation.\n\nThe overall camera trajectory forms one cinematic figure-eight, infinity-shaped route. The first loop curves around the fighter’s entrance and walkout path. The visual crossover occurs during the round-card and referee sequences. The second loop curves around the two fighters inside the cage. The final camera movement exits the figure-eight and pulls toward the trophy presentation.\n\nUse smooth match cuts, motivated transitions, consistent screen direction, realistic three-dimensional parallax, medium camera-movement amplitude, controlled moderate speed, stable cinematic motion, and clear visual continuity between all seven reference images.\n\nretention_analysis:\n\nPreserve from <Picture 1>:\nThe entrance stage, featured fighter, accompanying team, audience silhouettes, theatrical smoke, spotlights, arena scale, and dramatic walkout atmosphere.\n\nPreserve from <Picture 2>:\nThe fighter’s walkout formation, security personnel, camera crew, spectators on both sides, aisle depth, forward movement, and focused pre-fight energy.\n\nPreserve from <Picture 3>:\nThe round-card woman, circular round-one sign, cage entrance, event crew, security personnel, audience, stairs, railings, and arena architecture.\n\nPreserve from <Picture 4>:\nThe two fighters’ identities, gloves, shorts, athletic anatomy, cage mesh, defensive contact, distance, and close-range combat composition.\n\nPreserve from <Picture 5>:\nThe referee, both fighters, pre-fight spacing, fighting stances, cage environment, mat, audience, and official start-of-round interaction.\n\nPreserve from <Picture 6>:\nThe high-kick action, both fighters’ positions, balance, guard, limb placement, realistic impact distance, cage structure, mat, and audience.\n\nPreserve from <Picture 7>:\nThe trophy, woman carrying it, cage mesh, event crew, post-fight activity, award atmosphere, and arena environment.\n\nAcross every shot:\nPreserve the spatial scope, environmental atmosphere, lighting character, visual tone, color relationships, contrast, exposure, material appearance, depth, and overall mood established by each corresponding reference image. Do not apply a newly invented color scheme or a separate stylized color grade.\n\ndetailed_description:\n\n[Shot 1 — 0.00–2.00 seconds — <Picture 1>]\n\nOpen on the dramatic fighter entrance. The featured fighter and his team emerge through the existing theatrical smoke while the audience watches from both sides.\n\nThe camera gently pushes forward, then curves clockwise around the fighter and accompanying team, beginning the first loop of the figure-eight route. Use a medium-wide lens, medium movement amplitude, and controlled moderate speed.\n\nThe fighter walks forward with a focused expression, natural breathing, subtle shoulder movement, and tightly controlled steps. Team members maintain formation and exchange brief guiding glances. Nearby audience members raise phones, lean forward, clap, or gesture toward the fighter.\n\nSparse luminous particles appear inside the existing smoke. They respond naturally to the moving spotlights and footsteps, briefly tracing the fighter’s forward direction without covering faces or forming a visible route line.\n\nUse a motivated light-and-smoke transition into the next shot.\n\n[Shot 2 — 2.00–4.00 seconds — <Picture 2>]\n\nMatch the fighter’s forward step into the crowd walkout shown in <Picture 2>. Continue the first clockwise loop around the fighter’s procession.\n\nThe camera moves from a slight front-left angle toward a controlled side angle, revealing three-dimensional parallax between the camera crew, fighter, security staff, team members, and spectators.\n\nThe fighter remains focused and advances steadily. Security staff scan the crowd and make restrained guiding gestures. The camera operator tracks the fighter. Nearby spectators cheer, lift phones, exchange excited looks, or reach toward the aisle without obstructing the walkout.\n\nLight particles follow the fighter’s gloves and footsteps, pass naturally behind security personnel and foreground spectators, and react subtly to raised phones and hand gestures.\n\nEnd with the camera curving toward the cage entrance. Use a brief foreground occlusion or spotlight sweep as the transition.\n\n[Shot 3 — 4.00–5.50 seconds — <Picture 3>]\n\nReveal the round-card woman walking beside the cage while holding the circular round-one sign securely overhead with two anatomically correct hands.\n\nThe camera reaches the central crossover of the overall figure-eight trajectory. Move laterally between the round-card woman and the cage entrance with stable framing and safe clearance.\n\nShe completes one or two confident steps, briefly turns her eyes toward the audience, and maintains a natural smile. Crew members continue assisting at the cage entrance. Security personnel remain attentive. Nearby spectators clap and turn toward her.\n\nA restrained ring of luminous particles travels around the outer edge of the circular sign, flows down toward her hands, then drifts toward the cage entrance. Keep the existing number and printed details stable and readable; do not rewrite or animate them.\n\nUse the circular sign passing close to the lens as a smooth wipe into the referee sequence.\n\n[Shot 4 — 5.50–7.00 seconds — <Picture 5>]\n\nReveal both fighters and the referee inside the cage. The referee is positioned between them and gives one clear professional start signal.\n\nThe fighters acknowledge the signal, raise their guards, and take one controlled step toward fighting distance. Preserve believable foot contact, balance, guard position, and separation.\n\nThis moment completes the figure-eight crossover and begins the second loop in the opposite direction. The camera curves counterclockwise around the fighters at chest height, with the cage mesh creating natural foreground parallax.\n\nLight particles gather briefly around the referee’s signaling hand, split into two restrained streams, and travel toward the fighters before fading around their gloves.\n\nTransition through the referee stepping out of the central visual line.\n\n[Shot 5 — 7.00–9.20 seconds — <Picture 4>]\n\nContinue the counterclockwise second loop around the two fighters. Show one short, technically coherent exchange: Fighter A tests the distance with a controlled lead-hand action, Fighter B blocks or redirects it, and both immediately recover their guards.\n\nMovement must resemble professional MMA technique rather than uncontrolled fighting. Use realistic timing, weight transfer, defensive reaction, and safe anatomical alignment. Do not emphasize injury, pain, blood, or graphic impact.\n\nThe audience reacts with a restrained increase in movement. The referee observes from a safe distance. Light particles form brief trails around the gloves at the moment of contact, then scatter harmlessly through the cage space.\n\nKeep the cage mesh spatially consistent and correctly positioned in front of or behind subjects according to the camera angle.\n\nUse the fighters’ rotating footwork to match into the next high-kick action.\n\n[Shot 6 — 9.20–11.80 seconds — <Picture 6>]\n\nBuild to the action highlight. Fighter B pivots on the supporting foot and performs one fast, controlled high kick based on <Picture 6>. Fighter A raises both gloves and forearms to defend.\n\nShow the technique with realistic hip rotation, balance, momentum, defensive timing, and immediate recovery. The kick makes controlled contact with the guard, not an unprotected head. After the contact, Fighter B retracts the leg and returns to a stable stance while Fighter A maintains balance.\n\nThe camera completes the second counterclockwise loop around both fighters, moving from a three-quarter angle toward a wider side angle. Apply only a very brief and subtle speed ramp around the guarded contact, then return immediately to natural speed.\n\nA concentrated burst of luminous particles appears at the glove-to-shin contact point, expands into a thin circular wave, and rapidly dissolves. The effect must remain elegant and non-destructive—no explosion, lightning, fire, blood, or visible injury.\n\nUse the fading particle wave as the transition to the post-fight sequence.\n\n[Shot 7 — 11.80–15.00 seconds — <Picture 7>]\n\nTransition to the completed event and trophy presentation. The woman in <Picture 7> carries the trophy securely with both hands while walking inside or beside the cage. Preserve the trophy’s exact form, scale, metallic structure, and orientation.\n\nThe camera exits the completed figure-eight trajectory, gently arcs around the trophy, rises slightly, and pulls backward into a wider concluding view.\n\nThe trophy carrier looks toward the post-fight gathering with a calm smile. Officials and crew coordinate in the background. The fighters and team members acknowledge one another through restrained nods, a respectful glove touch, handshake, or brief congratulatory gesture. The audience claps as a coherent group.\n\nLuminous particles gather around the trophy’s reflective edges, drift toward the fighters and officials, then rise gently into the arena atmosphere and fade. End on a stable celebratory composition showing the trophy, cage, event personnel, and audience.\n\nCharacter interaction and continuity:\n\nEvery clearly visible foreground person remains active through realistic micro-movements such as blinking, breathing, walking, eye contact, posture changes, clapping, guiding gestures, guard adjustments, and role-appropriate reactions.\n\nInteractions must show clear cause and effect:\nThe audience reacts to the fighter’s entrance.\nSecurity and crew guide the fighter.\nThe round-card woman presents the round.\nThe referee signals the beginning.\nThe fighters respond to each other’s attacks and defenses.\nOfficials and participants acknowledge the conclusion.\nThe trophy carrier presents the final award moment.\n\nMaintain stable identities within every scene. Do not merge fighters, exchange their clothing or gloves, or transform one person into another during transitions. Where identity continuity between different reference images is visually uncertain, preserve the identity shown in each corresponding picture and use cinematic cuts rather than face morphing.\n\nFigure-eight camera requirements:\n\nThe overall cinematic route must read as one coordinated horizontal figure-eight movement:\n\nFirst loop:\nOrbit clockwise around the entrance fighter and walkout procession from 0.00 to 4.00 seconds.\n\nCentral crossover:\nPass through the round-card and referee sequences from 4.00 to 7.00 seconds.\n\nSecond loop:\nOrbit counterclockwise around the two fighters inside the cage from 7.00 to 11.80 seconds.\n\nExit and resolution:\nArc around the trophy and pull outward from 11.80 to 15.00 seconds.\n\nThe camera path itself must never become visible. Do not draw an infinity symbol or glowing route line. The figure-eight effect must be created only through camera motion, screen direction, parallax, and matched transitions.\n\nParticle effects:\n\nUse sparse, elegant luminous particles throughout the video as a visual continuity device. Particles react to smoke, spotlights, footsteps, phones, hand gestures, the round sign, the referee’s signal, fighters’ gloves, guarded contact, cage mesh, and the trophy.\n\nParticles must have correct depth and occlusion. Some pass behind bodies, cage mesh, signs, equipment, or the trophy, while others pass through the foreground. Particle brightness must respond to the existing illumination of each reference image.\n\nDo not cover faces, hands, fighters’ guards, the sign, trophy, or important event details. Do not create excessive particle density, magical powers, fire, lightning, energy weapons, or explosive effects.\n\nScene consistency:\n\nPreserve the spatial scope, environmental atmosphere, lighting character, visual tone, color relationships, contrast, exposure, depth, material appearance, and overall mood established by each referenced picture throughout its corresponding shot.\n\nMaintain the existing visual balance without assigning a new color style, introducing a separate color grade, or replacing the original lighting conditions. Transitions may match exposure and motion for continuity, but must not recolor the scenes.\n\nStrict visual constraints:\n\nDo not add, remove, duplicate, replace, merge, or randomly relocate foreground people. Do not change facial identity, hairstyle, clothing, gloves, shorts, age, skin appearance, body proportions, or professional role.\n\nDo not generate extra heads, faces, arms, hands, fingers, legs, feet, gloves, or detached body parts. Prevent limb stretching, body penetration, fused fighters, broken joints, sliding feet, floating bodies, or impossible balance.\n\nAll combat actions must remain technically coherent, physically plausible, controlled, and non-graphic. No blood, open wounds, broken bones, unconscious close-ups, graphic injury, excessive pain reactions, illegal attacks, or repeated uncontrolled strikes.\n\nDo not deform, open, duplicate, remove, or relocate the cage mesh, gate, stairs, posts, mat, railings, audience seating, arena equipment, round sign, or trophy.\n\nPreserve existing image text and logos as static reference details. Do not regenerate, translate, rewrite, scramble, mirror, animate, or add text. No subtitles, captions, new logos, watermarks, borders, or interface elements.\n\nNo face morphing between reference images, no camera collision, no teleportation inside a shot, no unmotivated scene replacement, no abrupt zooms, no excessive camera shake, no rolling frame, no unstable geometry, no focus pumping, no exposure flicker, no inconsistent shadows, and no intensified fisheye distortion.\n\noverall_soundscape:\n\nA continuous authentic indoor MMA arena soundscape. Begin with crowd anticipation, entrance-stage smoke effects, footsteps, distant announcements, phone-camera activity, and team movement. Increase into walkout cheers and cage-side applause. Add restrained cage-gate movement, referee instructions, glove movement, foot pivots, controlled guarded-contact sounds, and natural arena reverberation. End with applause, event-crew movement, and a respectful post-fight celebration.\n\nUse delicate spatial chimes only when luminous particles respond to gestures, guarded contact, or the trophy. Audio perspective must change naturally with the camera position and remain continuous across transitions.\n\nDo not generate commentary, dialogue, or identifiable spoken words unless supported by the source material.\n\nnon_diegetic_music:\n\nEnergetic cinematic sports music with a gradual 15-second structure: low atmospheric pulse during the entrance, controlled rhythmic build during the walkout, a short anticipatory rise at the referee signal, stronger percussion during the fight exchanges, a brief accent at the guarded high kick, and a resolved triumphant ending during the trophy presentation.\n\nKeep the music beneath the authentic arena ambience. 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