Kling 4.0 Prompting Guide
This guide gives you 15 reusable Kling 4.0 prompt templates, ranging from simple text-to-video generations to multi-reference video recreation and advanced 30-second sequences.
Kling's official guide recommends concrete visual descriptions instead of abstract language, clearly assigning roles to reference assets, and adding only the details that meaningfully affect the result. Omni Reference can combine images, videos, voice profiles, and elements, while Keyframes are designed for locking specific visual moments to the timeline.
Every example in this guide comes from one small project, The Case. Brennan swore it was a simple pickup. Then the alarms went off, the case started glowing, and Davicho found out how much of the plan Brennan had left out. Every take was made in Luma with Kling 4.0 Omni at 720p. Open the board to see every prompt, setting, and result: The Case tutorial board.
Before You Start: The Universal Kling Formula
For most generations, think in this order:
SUBJECT → ENVIRONMENT → ACTION → CAMERA → VISUAL DETAILS → AUDIO
For advanced prompts:
ASSET ROLES → SETTINGS → TIMELINE → CAMERA → AUDIO → CONTINUITY
You don't need every category every time.
Start simple.
Add control only where you need it.
01. Simple Text-to-Video
USE WHEN
You have an idea but no reference assets.
TEMPLATE
[SUBJECT] is in [ENVIRONMENT].
They [PRIMARY ACTION], then [SECONDARY ACTION].
[SHOT SIZE + CAMERA MOVEMENT].
[LIGHTING + MATERIAL + ENVIRONMENTAL DETAILS].
Audio: [AMBIENCE / SFX / DIALOGUE].
EXAMPLE
Brennan, a night-shift guard with a thick mustache, stands alone at a warehouse loading dock at 2 AM. He hears a clank inside the bay and slowly turns toward the half-open roll-up door.
Handheld medium close-up slowly pushes toward his face.
Cold fluorescent tubes overhead contrast with the red rotating alarm light leaking under the door. Wet concrete reflects each sweep of red.
A refrigeration unit hums behind him. Distant highway traffic. No background music.
TIP
Don't use five adjectives where one physical description will work.
Instead of:
cinematic, premium, dramatic lighting
try:
Strong side backlight creates a narrow highlight around the subject while the background falls two stops darker.
Kling explicitly recommends concrete visual descriptions over abstract terms.
02. Image-to-Video / Character Animation
USE WHEN
You have one image and want to animate it while preserving the subject.
TEMPLATE
@Image1 defines [CHARACTER / SUBJECT].
Preserve [IDENTITY / CLOTHING / OBJECT DESIGN / ENVIRONMENT / COMPOSITION].
The subject [ACTION].
Camera [CAMERA MOTION].
Maintain [IMPORTANT CONTINUITY DETAILS] throughout.
Audio: [AUDIO].
EXAMPLE
@Image1 defines Brennan and the opening loading bay.
Preserve his facial features, mustache, short dark hair at the sides, pale yellow oxford shirt, the roll-up door, and the direction of the red alarm light.
He slowly turns toward screen-right after hearing the alarm behind him, pauses, then cautiously steps backward.
The camera performs a subtle handheld push-in.
Maintain the same character identity and wardrobe throughout.
03. Character Consistency Using Multiple Images
USE WHEN
Several independently referenced characters appear together.
TEMPLATE
@Image1 defines [CHARACTER A]. Preserve [IDENTITY DETAILS].
@Image2 defines [CHARACTER B]. Preserve [IDENTITY DETAILS].
Exactly [NUMBER] characters appear throughout the sequence.
[CHARACTER A] [ACTION].
[CHARACTER B] [ACTION].
Maintain their individual identities, clothing, body proportions, and positions. Do not interchange their appearances.
EXAMPLE
@Image1 defines Brennan. Preserve his facial features, bald head, thick mustache, body proportions, and clothing.
@Image2 defines Davicho. Preserve his facial features, dark curly hair, stubble, body proportions, and clothing.
Exactly two men appear throughout the scene.
Brennan runs toward screen-right carrying the glowing steel case.
Davicho follows several feet behind him.
Maintain both identities and wardrobes throughout every shot.
04. Character + Environment Reference
USE WHEN
One reference establishes the person and another establishes the world.
TEMPLATE
@Image1 defines the character. Preserve [DETAILS].
@Image2 defines the environment. Preserve [LAYOUT / ARCHITECTURE / LIGHTING / PROPS].
Place the character naturally inside the environment.
The character [ACTION].
Camera [CAMERA DIRECTION].
EXAMPLE
@Image1 defines Davicho. Preserve his face, curly hair, stubble, navy tee, light blue jeans, white sneakers, and body proportions.
@Image2 defines the loading bay. Preserve the roll-up door, pallet stacks, yellow bollards, red alarm lights, and wet concrete floor.
Place Davicho beside the parked white delivery van.
He edges along the van toward the open bay door, watching for movement inside.
A wide 28mm camera tracks sideways with him.
05. Reference an Action or Performance
USE WHEN
You want characters from your images to perform choreography from an existing video.
Kling specifically supports separating character appearance references from action references.
TEMPLATE
@Image1 defines Character A.
@Image2 defines Character B.
Use @Video1 only as the reference for [ACTION / CHOREOGRAPHY / PERFORMANCE / TIMING].
Replace the performers in @Video1 with the characters from @Image1 and @Image2.
Preserve: action order, body mechanics, interaction timing, direction of movement, relative character positions
Do not carry over [UNWANTED VIDEO ATTRIBUTES] from @Video1.
EXAMPLE
Use @Video1 only as the reference for the sprint choreography and escape timing.
Use @Image1 and @Image2 as the identity references for Brennan and Davicho.
Preserve the order of strides, the stumble, the slide behind cover, the spacing, and the timing from @Video1.
Do not copy the original runners' clothing, faces, or environment.
06. Reference Camera Movement
USE WHEN
You love the cinematography of an existing shot but want completely different content.
TEMPLATE
Use @Video1 only as the reference for camera movement, camera path, framing changes, and shot pacing.
@Image1 defines [SUBJECT].
@Image2 defines [ENVIRONMENT].
Replace the original subject with @Image1.
Replace the original environment with @Image2.
Preserve the camera's: starting position, movement direction, acceleration/deceleration, distance from subject, framing progression, timing
EXAMPLE
Use @Video1 only as the reference for camera path, movement speed, shot pacing, and framing transitions.
Replace the original vehicle with the white delivery van from @Image1.
Replace the environment with the empty industrial road outside the warehouse from @Image2.
Preserve the reference video's orbit, rapid pull-back, low pass, and final push-in.
Kling's official guide specifically demonstrates this type of camera-reference workflow.
07. Composition Reference
USE WHEN
You already have exactly the framing you want.
TEMPLATE
Use @Image1 as the composition reference.
Preserve: camera height, viewing angle, subject placement, foreground/background relationship, horizon position, negative space, approximate scale relationships
Replace [ELEMENT] with [NEW CONTENT].
The subject [ACTION].
EXAMPLE
Use @Image1 as the composition reference.
Preserve the low camera height, the centered roll-up door, the foreground pallet stack, the dark ceiling, and the position of the alarm light.
Place Brennan and Davicho from @Image2 and @Image3 in the doorway.
Both men sprint out of the bay toward camera.
08. Storyboard-to-Video
USE WHEN
You have storyboard panels or a storyboard sheet.
TEMPLATE
@Image1 defines [CHARACTER / STYLE].
Use @Image2 as the director-approved storyboard.
Follow the storyboard's: shot order, framing, camera paths, screen direction, action progression, character blocking, emotional progression
Generate the finished [LIVE ACTION / ANIMATION / STYLE] scene represented by the storyboard.
Do not render: storyboard panels, borders, annotations, arrows, labels, notes, sketch textures
TIP
Treat the storyboard as instructions, not as something that should appear in the output.
Kling's own guide recommends explicitly telling the model to reproduce the finished scene represented by a storyboard rather than recreating the storyboard itself.
09. Multi-Shot Cinematic Sequence
USE WHEN
You need precise pacing across several shots.
Kling 4.0 supports generations from 3–30 seconds, and multi-shot generation is enabled by default.
TEMPLATE
SCENE CONTEXT
Exactly [NUMBER] characters / subjects.
[LOCATION + CONTEXT]
Duration: [X seconds]
Visual style: [STYLE]
SHOT 1 — 0:00–0:03
Framing: [SHOT]
Camera: [CAMERA]
Action: [ACTION]
SHOT 2 — 0:03–0:06
Framing: [SHOT]
Camera: [CAMERA]
Action: [ACTION]
SHOT 3 — 0:06–0:09
[...]
CONTINUITY
Preserve [IDENTITY / DIRECTION / ENVIRONMENT / LIGHT] between all shots.
AUDIO
Dialogue: [...]
Ambience: [...]
SFX: [...]
Music: [...]
TIP
For complex sequences, give each shot one primary idea.
Don't ask Shot 2 to perform six separate narrative events in three seconds.
Take 1 above uses templates 03 and 09 together: two identity references and three timed shots inside one 10 second Kling 4.0 Omni generation.
10. One Continuous Long Take
USE WHEN
You absolutely do not want Kling to introduce cuts.
TEMPLATE
One continuous [DURATION] master shot.
No cuts, no angle changes, and no scene transitions.
All framing changes occur through physical camera movement.
The camera begins [STARTING POSITION].
It [MOVEMENT 1] as [ACTION].
Then [MOVEMENT 2] as [ACTION].
Finally it [MOVEMENT 3] to reveal [ENDING].
Maintain continuous geography, lighting, character identity, object permanence, and screen direction throughout.
EXAMPLE
One continuous 15-second master shot.
No cuts, no angle changes, and no scene transitions.
The camera begins three feet behind Brennan at shoulder height.
It tracks behind him as he slips through the side door, arcs clockwise around his left side as he enters the bay, then pushes past his shoulder toward the glowing case on the shelf.
All framing changes occur through physical camera movement.
11. First + Last Frame Transformation
USE WHEN
You know exactly how the shot starts and ends.
Kling's Keyframes workflow can use first frames, last frames, first-and-last frames, and intermediate keyframes.
TEMPLATE
@Image1 is the exact first frame.
@Image2 is the exact final frame.
Between them, show [TRANSFORMATION / ACTION / PROCESS].
0–X seconds: [STATE A → PROCESS]
X–Y seconds: [INTERMEDIATE STATE]
Y–END: [FINAL TRANSITION → STATE B]
The transformation must occur [PHYSICALLY / ORGANICALLY / MECHANICALLY / MAGICALLY].
Preserve [IDENTITY / COMPOSITION / OBJECT POSITION / BACKGROUND] where appropriate.
EXAMPLE
@Image1 is the exact first frame.
@Image2 is the exact final frame.
Show Brennan and Davicho sprinting out of the loading bay, ducking behind the van, and opening the glowing case.
The latches flip one at a time and the lid lifts, the light growing over their faces.
Avoid a simple dissolve between states.
12. Multiple-Keyframe Sequence
USE WHEN
You know several important visual moments and want Kling to construct the motion between them.
Kling 4.0 supports up to 10 keyframes.
TEMPLATE
@Image1 = keyframe at 0 seconds
@Image2 = keyframe at [X seconds]
@Image3 = keyframe at [Y seconds]
@Image4 = final keyframe at [Z seconds]
0–X seconds | Image1 → Image2
[Describe action + camera transition.]
X–Y seconds | Image2 → Image3
[Describe action + camera transition.]
Y–Z seconds | Image3 → Image4
[Describe action + camera transition.]
Maintain [IDENTITY / WARDROBE / ENVIRONMENT / SPATIAL CONTINUITY] between all keyframes.
BEST USES
Multiple keyframes are especially useful for controlling:
- entrances
- exits
- transformations
- major poses
- camera-distance changes
- environmental changes
- story beats
- composition changes
13. Video Editing / Targeted Change
USE WHEN
You have footage that is already mostly correct.
The operative word is:
EDIT.
TEMPLATE
Edit @Video1.
Change [TARGET] to [DESIRED RESULT].
Preserve: character identity, body movement, performance, background, camera movement, composition, lighting, shadows, duration, timing, audio
Keep everything else unchanged.
EXAMPLE
Edit @Video1.
Replace the dented steel case Brennan carries with a greasy cardboard pizza box, still glowing orange through the seams.
Preserve both men's faces, hair, and wardrobe, their movement and performance, the loading bay, the van, the camera movement, framing, lighting, shadows, timing, and the original audio.
Keep everything else unchanged.
REMEMBER
“Reference @Video1” ≠ “Edit @Video1.”
Reference = learn from it.
Edit = modify the footage itself.
Kling says targeted video edits can modify characters, expressions, actions, cameras, styles, and backgrounds while preserving other parts of the footage.
In Luma, this is the Video Mode picker on Kling 4.0 Omni. Motion follows the reference video. Edit changes the reference video itself.
14. Character / Product Replacement + Creative Recreation
USE WHEN
You want to borrow the structure of an existing successful video.
TEMPLATE
Use @Video1 as the reference for: narrative pacing, shot order, shot duration, composition, camera movement, action timing, presentation structure
Replace [ORIGINAL SUBJECT] with @Image1.
Replace [ORIGINAL ENVIRONMENT] with @Image2.
Preserve the replacement subject's identity and design throughout.
Maintain the spatial relationships and timing of @Video1.
Do not carry over [UNWANTED CONTENT].
PRODUCT VERSION
Replace the product in @Video1 with the glowing steel case from @Image1.
Preserve the reference video's background composition, hand interaction, camera movements, lighting, shadows, shot sequence, pacing, and duration.
Keep the product from @Image1 visually consistent throughout.
WHY IT MATTERS
Kling calls this workflow Creative Recreation and specifically positions it for areas such as social content and performance advertising.
15. Dialogue + Native Audio Scene
USE WHEN
Dialogue, ambience, sound effects, or vocal performance matter.
TEMPLATE
CHARACTERS
@Image1 defines [CHARACTER A].
@Image2 defines [CHARACTER B].
ACTION
[Describe physical performance.]
DIALOGUE
[Character A], [VOICE / DELIVERY]:
“[EXACT LINE]”
[Character B], [VOICE / DELIVERY]:
“[EXACT LINE]”
AMBIENCE
[ENVIRONMENTAL AUDIO]
SFX
[SOUND EFFECTS]
MUSIC
[MUSIC DESCRIPTION / NO BACKGROUND MUSIC]
EXAMPLE
Davicho turns toward Brennan.
Davicho, American English, slightly out of breath, dry understated delivery:
“Please tell me that wasn't your plan.”
Brennan pauses before replying.
Brennan, lower male voice, calm and completely serious:
“It was most of the plan.”
Ambience: distant alarms, light wind, debris settling.
SFX: small pieces of metal hitting the pavement.
No background music.
Kling generates two-channel stereo and its guide recommends putting spoken dialogue in quotation marks when specifying language or speech. Direct audio input currently functions as a voice-profile reference rather than an uploaded soundtrack; ambience, effects, and music are generated from prompt direction.
BONUS: The “Director Prompt” Master Template
When the generation really matters, combine everything:
ASSET ROLES
@Image1 defines ___; preserve ___.
@Image2 defines ___; preserve ___.
@Video1 controls ___ only.
Do not inherit ___ from @Video1.
SCENE CONTEXT
Duration:
Aspect ratio:
Location:
Characters:
Visual medium:
SPATIAL MAP
Character A begins ___.
Character B begins ___.
The exit is ___.
Primary direction of movement is ___.
CONTINUITY
Exactly ___ characters.
Maintain ___.
The same ___ remains present throughout.
Never reverse screen direction.
SHOT PLAN
SHOT 1 — [TIME]
Framing:
Lens:
Camera:
Action:
SHOT 2 — [TIME]
Framing:
Lens:
Camera:
Action:
Continue as needed.
VISUAL CHARACTERISTICS
Lighting:
Color:
Materials:
Atmosphere:
Texture:
AUDIO
Dialogue:
Voice:
Ambience:
SFX:
Music:
EXCLUSIONS
No subtitles.
No background music.
Add additional exclusions only when truly necessary.
Five Rules That Fix Most Kling Prompts
1. Give every reference a job.
Don't just write:
@Image1 @Image2 @Video1
Write:
@Image1 = character. @Image2 = environment. @Video1 = camera motion only.
Asset-role clarity is one of Kling's strongest official recommendations.
2. Describe evidence, not adjectives.
Instead of:
expensive luxury hotel
try:
Floor-to-ceiling windows, polished dark stone floors, brushed brass fixtures, cream upholstered furniture, indirect warm architectural lighting.
3. Describe what SHOULD happen.
Instead of:
Don't show his face
try:
Keep the character in rear three-quarter view throughout.
Kling specifically advises minimizing negative instructions.
4. Scope your references.
The most powerful phrase in multimodal prompting may be:
“Reference ___ only.”
Use @Video1 for camera movement only.
Use @Image2 for wardrobe only.
Use @Image3 for composition only.
5. Start short. Earn complexity.
Kling's own guidance says longer prompts are not automatically better.
Start with:
subject + scene + action + emotion
Then add:
camera → timing → references → continuity → audio
only where additional control is actually necessary.
The Rule to Remember
Tell Kling what every asset means, what every subject does, where the camera goes, what must stay consistent, and what we should hear.
Everything else is optional.
The goal isn't to write the longest prompt.
The goal is to remove the right ambiguities.
See every prompt, setting, and result from this guide on The Case tutorial board.