Fantasy epic
A knight-versus-dragon set piece — the hero beat a fantasy trailer builds toward.
Cinematic trailer in under an hour: Seedance 2.0, Kling 3 Omni, FacePass.
Plot your trailer beats, generate a lead portrait and @-reference it across every shot, then build cinematic clips. In Renoise, Seedance 2.0 handles single-subject hero shots and Kling 3 Omni handles multi-character action, with FacePass to clear a real actor and the Canvas Timeline for cuts.
This guide covers cinematic trailers. For music-synced edits, see the AI music video guide
Cold open to title card: plan beats, lock the lead, generate cinematic shots.

Write 6–10 trailer beats: cold open (5s), world establishing (10s), hero reveal (10s), action (20s), title card (5s).

Generate a hero portrait, then @-reference it in every clip prompt. For a real actor, clear via FacePass first.

Build wide and atmospheric beats in Seedance 2.0. Prompt example: "abandoned hallway, dust motes, slow dolly forward, anamorphic, 16:9, 8s".
Cinematic beats generated in Renoise — switch models per shot, keep one lead across the cut.
A knight-versus-dragon set piece — the hero beat a fantasy trailer builds toward.
A deep-space dogfight with motion that holds across a fast multi-shot sequence.
A dim hallway and a slow reveal — the tension beat most horror trailers open on.
An armored lead running through a collapsing city — Kling 3 Omni keeps every subject coherent.
Both live in the same Renoise canvas — switch per shot. Seedance 2.0 for single-subject cinematic hero shots, Kling 3 Omni for multi-character action and multi-shot continuity.
| For trailer shots | Seedance 2.0 (Recommended) | Kling 3 Omni |
|---|---|---|
| Best for | Single-subject hero shots | Multi-character action |
| Cinematic single-subject motion | Best | Good |
| Multi-shot continuity | Good | Best |
| Same canvas | ✓ | ✓ |
A trailer is a piece of editing, not a short film — it sells a feeling in roughly 60–90 seconds by withholding plot. The structure is a deliberate arc: a cold open hooks with one striking image or line, an establishing stretch sets the world, a hero reveal raises the stakes, an action build accelerates the cutting, and a title card lands the name. Pacing comes from cut rhythm — long, held shots early; quick, overlapping cuts as tension peaks.
Two terms worth keeping straight: a shot is one continuous generated clip, while a scene is a sequence of shots that reads as one location or beat. Trailers cut across many scenes fast, so you assemble far more shots than a single scene would ever use.
In Renoise, you generate each shot as its own clip — Seedance 2.0 for cinematic single-subject hero beats, Kling 3 Omni for multi-character action — then cut them together on the Canvas Timeline, snapping transitions to the music so a beat drop lands on your hardest cut and the title card arrives on the final sting. No round-trip to a separate editor.
Three tools working together for trailers.
Seedance 2.0 for single-subject cinematic shots, Kling 3 Omni for multi-character action. Switch per shot in one Canvas.
@-reference one image of your lead across every shot so one character carries the whole trailer. For a real actor, clear their face via FacePass first.
Snap cuts to the music waveform — beat drops, held pauses, accelerate to the title card. No Premiere round-trip.
One plan covers every model your trailer needs.
Plan beats, lock your lead, generate cinematic shots. Watermark-free on paid plans.
No. Individual clips are capped at 15 seconds. Renoise is built for short-form work like trailers, music videos, and ad cuts. A 60–90 second trailer is the sweet spot for high quality.
About 45–60 minutes end-to-end for an experienced user: 5 minutes planning, 30 minutes generating 6–10 clips, and 15 minutes editing on the timeline. First-time users should budget 90 minutes.
Yes. Generate one image of your lead, then @-reference it before generating clips so every shot reuses that face. If your lead is a real actor, clear their face through FacePass first — video models block reference images with a real human face, and FacePass is the compliant path once you hold the rights to that likeness. Without referencing the same image, video models drift and your lead changes each cut.
Yes. Drop MP3 or WAV tracks onto the Canvas Timeline. Convention is a bed track underneath, sting hits on transitions, and a full music drop at the title card. Renoise does not generate audio.
Render 16:9 for theatrical, YouTube, and Vimeo distribution. Add 9:16 in the same job for Reels, TikTok, and Shorts cut-downs. Skip 4:3 unless you want a deliberate retro aesthetic.
Yes. Keep the same lead image and @-reference it in the new project. Start a new Canvas, attach the same reference (FacePass clearance carries over for a real actor), and the lead from your first trailer carries into the second one.