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Start with a music file—or a video whose audio should control the edit. Narration is not added; the track is the spine.

A complete music-driven film. Its sections, visual treatments, and cuts follow the track.

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Make it

Add the track (and any photos or clips that must appear) in Make something:
Have an edit you like? Paste its link too and say “cut it like this”: the agent matches its rhythm and transitions to your track. Mention a section, lyric or image order only when it can’t be chosen freely. With your own agent instead of the app, start the message with /hyperframes.

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What should the track drive?

  • Use your photos or video — cut approved media to the track’s phrases, energy, beats, and ending.
  • Make a lyric video — verify the words first, then synchronize and design each line around the vocal.
  • Invent the visuals — build the visual arc from typography, graphic elements, and motion when no media is supplied.
A complete video can also be built entirely from type, graphic templates, and motion.

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The track sets the structure

HyperFrames maps the track’s phrases, energy, onsets, silences, rolls, drops, and hard stops before it plans the visuals. A rhythmic track can support cuts on its real beat grid. Calm or loose music should flow by phrase and energy instead of forcing a cut onto every measured beat. The visual treatments change at meaningful musical moments. More beats do not automatically mean more scenes.

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Prompts that work

The verified starting point: photos cut to a track, exported to a square MP4.
20-second 1080x1080 video from ./track.mp3 (pick the best 20 seconds of the track) and the 8 photos in ./shots/. Cut on the beat grid, one photo per bar, punch-in on downbeats, whip-pan transitions on phrase changes. End on the last photo with “SUMMER ‘26” in condensed caps. No TTS.
Made from the prompt above. Every timing decision here is delegated to the track’s own analysis — you describe the treatment (“one photo per bar”, “punch-in on downbeats”), and the beat grid supplies the times.

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Say these when they matter

The beat grid. The agent analyzes the track (hyperframes beats, hyperframes audio) for beats, onsets, and sections, then cuts at real musical changes. You steer how it cuts, not when: “one photo per bar” sets cut density, “punch-in on downbeats” adds the accent, “transitions on phrase changes” reserves the visible moves for structural boundaries. On genuinely rhythmic music the grid is trustworthy and cuts snap to the beat; on calm music the grid is a metronome the analyzer imposed, so the agent paces by phrase and energy instead of hard-cutting — say “let it flow, no hard cuts” if the track is ambient. Track section — describe, don’t timestamp. Ask for “the best 20 seconds” or “the verse into the hook” and let the analyzer choose boundaries that land on musical anchors. Hard timestamps (“use 0:32–0:52”) cut mid-phrase and fight the grid. Asset supply. Zero assets is valid — typography carries a complete video. Any photos or clips you hand it are woven in on the same beat grid (beat-cut or Ken Burns), so more assets means more to cut between, not a different pacing model. Point at a directory (“the 8 photos in ./shots/”) and name the end card.

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Variants

30-second 1080x1920 lyric video from ./song.mp3 (pick the strongest 30-second section — a verse into the hook). Transcribe the vocals for word timing. Lines rise in one at a time on the beat, big condensed type on a dark grain background; the hook lands with each word punching in on its downbeat. Keyword in each line highlighted in acid green. No photos — typography only. No TTS.
Word-level timing comes from transcribing the track (or from lyrics you paste, placed on the beat grid). No supplied assets needed — type is the whole video.
15-second 1080x1080 kinetic promo. No track supplied — generate one: driving synthwave, high energy. Cut hard on the beat: full-frame word cards (“FASTER”, “SHARPER”, “SHIP IT”) slam in on downbeats, alternating black/white with inverted type, a glitch flash on each phrase change. End on the wordmark “NOVA” holding with a subtle ambient idle. No TTS.
With no audio supplied, the track is generated from the mood you describe; the beat grid it produces still drives every cut.

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Common mistakes

Hard track timestamps. The whole point of a music video is that the track’s structure sets the cuts. A literal time window ignores the analyzed beat grid and lands cuts mid-phrase.
  • Avoid: use the section from 0:32 to 0:52
  • Instead: pick the best 20 seconds of the track
Expecting an MP4 from a presentation. A presentation is a live deck you click through; it doesn’t export as one video file.
  • Avoid: a slideshow deck, then render it to MP4
  • Instead: a music video from these photos for a file to post, or a presentation to click through live
Wrong deliverable for the output. Photos set to music that you’ll export and post is a video; a thing you click through live is a presentation. Picking by the word “slideshow” alone builds the wrong deliverable.
The music prompts here are unnarrated; ask for a voice-over if you want one. For the six-part skeleton these prompts share, see Prompt anatomy; for adjectives that map to eases and transitions, Vocabulary.
A clause from a longer film prompt that makes the cuts follow the real beats, ready to lift:
Rhythm (45–52s). The wire becomes a waveform: resolve the BGM first, run hyperframes beats on it, and drive this region on the detected grid — the waveform pulses and compact media cards (a lyric line, a photo card, a chart flash) snap onto the wire on real analyzed beats while the camera keeps traveling; each snap gets a tick SFX. At least six beat-hits. SANCTIONED SEAM #2: the beat-hits may hard-cut card content ON the beat — the sanctioned exception, because the camera itself never stops moving through them.
Cuts landing on the detected beats of a real track (npx hyperframes beats).

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Review the rhythm

  • The correct section of the track is used.
  • Required media appears and lyrics match the vocal.
  • The strongest visual changes land on meaningful musical changes.
  • Important images and text remain long enough to understand.
  • The ending reaches a musical landing or forms a deliberate loop.
For direct timing control, use the browser editor timeline to refine cuts, holds, and the ending against the beat markers. Ask the agent when the section, media plan, or overall treatment must change.

Finish and share

Check the final project, render through your preferred surface, and review the file.