FLUX 3 Audio and Dialogue
Name each layer separately: speech, voiceover, ambience, effects, music, or deliberate
silence. One blurred description gives up control of all of them; every sound needs a
physical source or narrative role.
Speech. Quote the exact line, name the visible speaker (or label the line
/
so it is not searching for a mouth to belong to), and add
no on-screen text, no subtitles
when text is unwanted:
text
A weather presenter on camera in front of a stylized storm map, speaking directly to
the lens: "Storm season is here, and this time, we're ready." Confident delivery,
clean studio lighting. No on-screen text, no subtitles.
Voice anchors: age range, accent when relevant, register, energy, recording distance.
Reusing the same direction preserves a kind of voice, not the same performer across
generations.
Speakability. Write for the clip's real duration: short sentences, one thought per
line, room before and after the payoff; spell unusual names phonetically; shorten the
line before speeding the delivery. A line that cannot finish comfortably needs a
shorter script or a longer clip.
Effects are causal, not a detached list:
text
As the cup hits the tile, it cracks with one sharp ceramic snap.
Mix. Say what leads and what stays under it. Keep background voices out when one
line matters:
text
Her line is foreground and fully intelligible. Café chatter and espresso hiss remain
low and diffuse. A restrained piano pulse enters beneath the final words without
masking them.
Silence and post. Set
for a deliberately silent source
clip. Reserve for deterministic post: final loudness, EQ, ducking, and fades;
guaranteed wording or speaker identity; frame-accurate sync; subtitles and captions;
continuity across separately generated clips.
When a take misses, change one dimension at a time: speaker ownership, line length,
delivery anchors, competing layers, action-to-effect causality, or generation versus
post.