LTX 2.5

Why serious creatives choose LTX 2.5

Whole scenes, not single shots

Most models hand you one clip and leave the edit to you. LTX 2.5 generates multiple connected shots in a single pass, so a scene arrives as a sequence with the cuts already inside it instead of as parts you have to assemble and hope will match.

Sound that arrives with the picture

Audio is generated alongside the video in the same pass, not bolted on after. Dialogue, ambience, and foley land in sync with what is happening on screen, which means a finished scene sounds finished the first time you watch it back.

Continuity that holds across the cut

Character identity, environment, lighting, and voice carry from one shot to the next inside a multishot generation. The person in shot three is the person from shot one, wearing the same clothes, lit by the same source, speaking in the same voice.

Motion that survives the decoder

The rebuilt video decoder is where the quality shows up under pressure. Faces stay sharp through movement, fine detail holds, and fast action comes through with fewer of the smears that usually give generated motion away.

Output that goes straight into post

Native 4K HDR, with a RAW workflow built for professional finishing. Footage lands in a form a colorist can actually grade rather than a compressed file you have to fight, so generated shots sit in a real timeline next to real ones.

Fast enough to iterate at the speed of the idea

LTX 2.5 is built for real-time class generation, and the gap it opens over slower models is measured in multiples, not percentages. That changes what you do with it: you test the version you are unsure about instead of settling for the version you already have.

How LTX 2.5 works with invideo Agents

On invideo, LTX 2.5 runs inside an agentic workflow: the agent routes work to it where it wins, writes its prompts in the structure the model actually reads, keeps your look and continuity rules on every generation, and organizes every take for your approval. Here is what that looks like in practice.

The agent picks the right model intelligently.

LTX 2.5 sits on a roster of 200+ models, and the agent routes work to it where it wins: multi-shot scenes, dialogue and sound-driven moments, vertical and social work, and any job where volume and turnaround matter as much as the frame. You never choose a model unless you want to, and if you have routing rules of your own, they hold for the whole project.

You describe the scene, the agent writes the prompt.

LTX 2.5 responds to a scene written as one continuous paragraph that covers the shot, the setting, the action in order, the characters, the camera, and the sound. That is a specific structure, and most people do not type it. You describe what you want to see and hear, and the agent writes it out the way the model reads it.

Your production rides along on every generation.

Approve your look, your characters, and your continuity rules once, and the agent saves them as the project's memory, then writes them into every LTX 2.5 prompt it sends. Scene eight carries the same direction as scene one without you restating it.

Sound is part of the brief, not an afterthought.

Because LTX 2.5 generates audio in the same pass as the picture, the sound has to be described in the prompt or the model decides for you. The agent writes the audio clause: the ambient bed, the effects tied to the action, and silence where you intend to bring your own score.

You always stay in control.

You set how much the agent does on its own: let it generate everything, ask before videos, or see every prompt before it generates. That setting is yours to make, and yours to change.

Who is LTX 2.5 for?

LTX 2.5 supports scene-level, sound-complete video generation across narrative filmmaking, brand, and post-production workflows. With invideo Agents underneath it, each team gets the model without learning the machinery.

Filmmakers and narrative creators

Create scenes rather than shots: coverage that cuts together, characters who stay themselves across the sequence, and dialogue that arrives with the performance. Useful when the unit of work is a scene and reassembling mismatched clips is the part that kills the day.

Brand and performance marketers

Create campaign volume without trading away finish. Sound comes built in, verticals are native, and the speed means a concept gets tested in variants instead of defended in a meeting.

Post and finishing teams

Create generated footage that behaves like footage: 4K HDR, a RAW path, and output that grades alongside your plates. Useful when generated material has to survive a real finishing pipeline rather than live in a preview window.