Coherent environments
Visual details and object permanence can shift or drift over time. This becomes more noticeable as a simulation runs longer, after multiple complex prompt edits, or when navigating throughout a scene.
Genie 4 is our most realistic and interactive world model yet.
Genie 4 incorporates and builds on capabilities from the Gemini family. Gemini Omni anchors simulations in real-world appearance and behavior, while other Gemini models provide the complex reasoning needed to help maintain a simulation’s coherence and continuity.
Shape worlds in real time
Create and change worlds with natural language – live. Describe landscapes and events, move the camera, add new characters, or change the weather. Then see what happens next.
A crowned crane walks across the snow beneath the clear dusk gradient sky. Natural colors in a documentary style.
Create a fully three-dimensional immersive stained-glass landscape that feels like a handcrafted crystal window brought to life. The world should be explorable, as if the camera can move freely through a giant 3D stained-glass environment. The entire scene must have a stained-glass / crystal-window look: translucent colored glass, dark lead outlines, glowing layered panels, volumetric depth, and artisanal glass textures.
Show a beautiful landscape with a flowing river running through green fields, flowers in the foreground, trees, distant mountains, clouds, and a radiant sun in the sky. The river should feel like flowing translucent blue glass, the flowers like upright stained-glass sculptures, the grass and trees like layered colored-glass forms, the mountains like stacked glass panels, and the sun like a luminous circular stained-glass element. Everything must feel spatial, cohesive, luminous, and handcrafted, with depth and the sensation that the viewer can move through it in three dimensions.
The camera should be able to travel through the scene as if walking or gliding inside this 3D stained-glass world. Keep the world beautiful, magical, and fully consistent in style.
Absolutely everything must remain made of stained glass or crystal at all times, including the grass, the water, the sky, the clouds, the flowers, the trees, the mountains, the sun, and all visible surfaces. Do not introduce any natural real-world textures. No real grass, no real water, no normal sky, and no realism outside of the stained-glass universe.
No text, no modern objects, no realism outside of the stained-glass universe.
Super realistic documentary-style first-person POV of a skier speeding downhill on a snowy alpine course. Wide action-camera lens, true found-footage feeling, natural motion blur, slight camera shake, realistic snow spray, and authentic body movement while skiing. The course is marked with gates and safety netting, with expansive mountains all around under clean winter daylight. Introduce a subtle game-inspired interface layer, such as minimal digital arrows, route markers, or collectible coin-like targets ahead, but keep the entire mountain, snow, movement, and atmosphere completely real and believable.
Environment: A direct top-down aerial view of a calm, dark emerald-and-navy pond densely framed by floating clusters of round green lily pads, lush aquatic foliage, golden-brown duckweed, and blooming bright-pink water lilies bathed in warm, dappled sunlight.
Character: Aerial view floating diagonally in the center of the dark water opening is a small, empty rustic wooden rowboat made of weathered brown timber planks with three wooden bench seats. The boat is still.
Create realistic interactive environments
Generate environments where objects collide, water flows, and trees sway in the wind. And where generated characters move – and behave – naturally.
Keep the exact frame and look of this Live-action footage following an extravagantly dressed man walking backstage at an eccentric musical theatre. Around him, performers adjust elaborate costumes, rehearse small movements, apply makeup and hurry toward the stage. Narrow winding corridors with faded peach wallpaper, curved burgundy doorframes, velvet curtains, mismatched mirrors and warm practical bulbs. Costume racks, tangled cables and scattered props make the space feel busy and lived-in. Fluid handheld camera walking alongside and behind him, spontaneous gestures and believable movement.
Environment: A wide, sun-drenched hilltop meadow filled with tall green grass and scattered purple, white, and yellow wildflowers swaying in a warm breeze. Low green shrubs dot the right side of the field while distant blue-green rolling hills stretch along the left horizon beneath a bright, partly cloudy sky.
Character: Winding in sweeping S-curves through the center of the grassy meadow from the immediate foreground far into the distance is a long, continuous stream of glossy bubblegum-pink satin fabric. The shimmering pink cloth billows, ripples, and lifts softly above the wildflowers like a flowing river of silk as the wind moves beneath its folds.
Environment: A sunlit outdoor courtyard featuring a weathered stone plinth set against a soft-focus background of lush green garden foliage and clear blue sky, bathed in bright, warm afternoon sunlight that backlights airborne droplets in crisp slow motion.
Character: A whole, glossy green-striped watermelon rests in the center of the stone plinth.
Environment: A sweeping aerial view over the vast, frozen landscape of Antarctica, featuring endless snow-covered glaciers, jagged icy mountain peaks, and sculpted blue icebergs bathed in crisp polar sunlight under a clear, pale blue sky. Numerous hot air balloons dot the horizon at varying altitudes, with a large cream, red, and blue striped balloon floating prominently in the mid-distance above the ice sheet.
Character: Shot from a first-person POV standing inside the woven wicker basket of a flying hot air balloon, looking out over the leather-trimmed basket edge on the right side of the frame, where black padded support poles, metal rigging chains, and the dark base of the balloon canopy overhead frame the drifting polar vista.
A breathtaking high-end wildlife documentary photograph of a crystal-clear freshwater river with exactly 2 adorable pink axolotls. One axolotl is very close to the camera in the foreground, its pale pink skin, translucent external gills, tiny feet and round curious face beautifully visible. The second axolotl is much farther away, partially surrounded by aquatic vegetation, creating a strong natural sense of scale and depth.
The camera is underwater at axolotl eye level, surrounded by lush aquatic plants, smooth river stones, submerged roots and soft green vegetation. Crystal-clear water, tiny suspended particles, delicate sunlight filtering from the surface, subtle natural rays, reflections and gentle movement in the water. Beautiful contrast between the soft pink axolotls and rich natural greens.
Extraordinary natural-history documentary photography, 35mm photographic feeling, natural underwater light, realistic exposure, subtle atmospheric depth, gentle foreground softness, delicate highlights, fine natural detail, subtle optical imperfections and fine film grain.
The image should feel peaceful, intimate, incredibly cute and genuinely photographed in a real freshwater ecosystem. The composition should naturally emphasize the relationship between the nearby axolotl and the distant one.
Exactly two axolotls, no more. No aquarium, no fantasy environment, no glowing animals, no artificial neon pink, no CGI, no illustration, no cartoon, no exaggerated eyes, no plastic-looking skin.. Audio description: Submerged bubbling sounds, gentle ambient water currents, and muffled underwater acoustic resonance. Do not mix animal species or add legs!
Direct complex events
Create worlds with plausible cause-and-effect sequences. Gemini works behind the scenes to interpret prompts, and make dynamic plans within changing worlds.
Universal Robots UR5 holds a pipette and dispenses liquid into a lab plate, triggering tiny electric sparks.
A REAL, ultra-photorealistic, high-end 35mm cinematic first-person perspective (POV) experience set inside an opulent, claustrophobic antique salon, strictly avoiding any video game, CGI, or digital render aesthetic. Real place, cinema, not render.
POV & Foreground Wand: Authentic first-person perspective looking down along the player's physical right hand, which firmly grips an ornate, hand-carved hardwood and polished brass wizard wand pointing into the room. The player's skin exhibits realistic pores, skin creases, cuticle texture, and natural muscle tension under ambient room light. The wand displays fine wood grain, tiny varnish micro-cracks, cold metallic brass inlays, and tactile surface wear from handling.
Porcelain Menagerie & Room Architecture: A suffocating, baroque-style gallery packed floor-to-ceiling with thousands of fragile, life-sized and miniature glazed porcelain animals. Glistening ceramic peacocks with intricate feather patterns and vibrant cobalt and emerald enamels, regal porcelain dogs, and curled porcelain cats perched on marble mantels, mahogany display shelves, and velvet-draped pedestals. The surfaces showcase authentic high-gloss ceramic glazing, micro-crazing cracks in the enamel, delicate bone china translucency, and natural dust gathering in the crevices.
Cinematic Optics & Lighting: Shot on high-end anamorphic 35mm film lenses. Natural optical characteristics featuring shallow depth of field, subtle barrel distortion, realistic optical lens flares, fine organic film grain, and creamy bokeh in the background. Natural daylight streams through tall, grime-streaked Victorian lace curtains, casting soft volumetric dust motes and creating sharp, physically accurate specular highlights across the glossy curved porcelain glazes.
Dynamic Movement & Physical Interaction: Continuous, smooth handheld POV traversal. The player subtly sweeps and points the wand toward the ceramic figures, causing realistic micro-vibrations in the frame as footsteps tread across creaking hardwood floorboards. The figures remain frozen in immaculate, fragile stillness, catching shifting highlights as the wand moves.
Acoustic Atmosphere: Raw, immersive documentary-grade audio. Faint floorboard creaks underfoot, distant room tone, quiet breathing, the subtle dry friction of fingers adjusting their grip on the wooden wand, and the delicate, crystalline clinking resonance of fine porcelain vibrating faintly in the quiet air.
A real magician stands beside a tall wooden table. On the table is a large rectangular wooden box, completely open at the top, with no lid.
A real peacock stands calmly inside the box.
Exceptional production design, sophisticated art direction, cinematic lighting, natural but carefully controlled light, realistic skin tones, beautiful contrast, subtle shadows, rich textures, elegant composition, shallow depth of field, high-end cinema camera, realistic human actors, extremely photorealistic.
It should look like a frame from a prestigious, beautifully shot modern TV series: understated, expensive, cinematic and completely believable.
No theater, no stage, no fantasy, no cartoon, no plastic-looking people, no CGI look.
Environment: Royal Opera House show has just finished. Character: A member of the audience.
Hear your worlds
Worlds come alive with natively generated native audio. Leaves crunch underfoot, crowds cheer, and characters can speak with you – and each other.
A cinematic macro close-up from a 1995 Hong Kong indie romantic drama, shot on 35mm film. Two young, unconventional-looking Korean lovers in their 20s ride a motorcycle across a bridge on the outskirts of Hong Kong at dawn.
The male driver wears no helmet, looking around anxiously, while the pale-skinned female passenger wears an open-face helmet. Their faces dominate the foreground, large and overlapping, with natural skin texture and subtle expressions of worry and tenderness.
Low-angle panoramic composition, framed by solid black bars. Shallow depth of field, blurred road receding behind them, orange streetlights streaking past, and a dark green dusk sky. Intimate, imperfect, melancholic 35mm film aesthetic.
One continuous shot.
Immersive first-person POV, we only see the big strong hands of the knight rider tightening the reins, dragon and wings. Photorealistic, ultra-realistic action-camera footage seen entirely through the rider's own eyes while riding a gigantic black dragon at 140 km/h through a mountainous dragon-racing course with many dragons and riders. Other dragons are mounted by other knights.
The camera IS the rider's eyes. The camera is attached to the rider's head, facing forward, and moves naturally with the rider's head. The rider is the viewer. The rider's face, head, torso, body, and full silhouette are NEVER visible. No third-person shots, no external camera angles, no cutaways, no views of the rider from behind or from the side.
Only show what the rider would naturally see: the dragon's neck and occasional parts of its upper back near the bottom edge of the frame, the rushing landscape, two other dragons and their riders racing alongside and ahead, and a huge castle with catapults on its walls. A standard is carried naturally by the rider and may occasionally appear at the edge of the frame, but never blocks the view or fills the frame.
The camera maintains this exact first-person perspective throughout the entire flight. Aggressive high-speed racing, powerful realistic wingbeats, aerodynamic weight, intense wind, natural head movement, subtle camera vibration, wide-angle action-camera distortion, realistic motion blur, cinematic natural lighting, physically believable movement.
Strict visual constraints: true first-person rider POV, no visible rider, no third-person perspective, no external tracking shot, no drone camera, no over-the-shoulder shot, no cinematic cutaways, no camera floating outside the rider's body, no CGI appearance, no video game look, no 3D-render aesthetic.
Audio: deep thunderous wingbeats, roaring high-altitude wind gusts, distant volcanic rumble, and crackling flame embers.
Use the reference image as the exact first frame and visual basis for the scene. Preserve the same floating rectangular platform, weathered concrete edges, wild grasses, ferns, twisted small tree, warm glowing amber sphere, and the same middle-aged man in a loose brown suit playing a brass saxophone.
A cinematic, highly naturalistic documentary scene, photographed on 16mm film with subtle grain, soft photographic detail, extremely low contrast, muted natural colors, lifted shadows, gentle highlights, and soft diffuse overcast light. Absolutely no HDR, no dramatic contrast, no glossy digital rendering, no artificial cinematic lighting.
The platform floats in the middle of a vast, quiet lake surrounded by distant misty forests. Thin layers of fog drift above the water. The sky is pale blue-gray and overcast, with a soft, almost monochromatic atmosphere. The warm amber sphere provides a delicate contrasting glow, softly illuminating the surrounding vegetation and reflecting in the lake.
Begin with a slightly closer view of the saxophone player than in the reference image, while keeping the platform, glowing sphere, tree, and surrounding lake visible. The man continues playing his saxophone naturally, with subtle breathing, finger movements, and gentle body swaying.
The camera moves independently and can freely explore the entire environment, gliding smoothly over the water with gentle, controlled movement. The camera is not attached to the man or the platform. Maintain realistic spatial continuity and natural camera movement.
Everything must remain photographic, physically believable, documentary-like, extremely low-contrast, and softly desaturated throughout the entire experience.
One continuous shot. Natural lake ambience, distant wind, soft water movement, and realistic saxophone sound. No background music beyond the instruments physically present in the scene.
A crowded rural Japanese train station in the 1980s, packed with passengers waiting along the platform. The only railway inspector in a dark navy uniform stands close to the camera, observing the scene. A long, deep-red local train with many carriages occupies the railway track closest to the camera POV, stretching across the frame and extending far into the distance. The train is clearly visible in the immediate foreground, not on a distant track. People fill the platform naturally, standing, walking, boarding and waiting with luggage. Lush green mountains, cedar forests and humid summer haze surround the station. Authentic 1980s Japanese atmosphere, cinematic 35mm documentary photography, realistic perspective, asymmetrical composition, natural lighting, subtle film grain, photorealistic textures. The station must look genuinely busy, with a dense crowd of visible people throughout the platform. The red train must be on the nearest track, dominating the scene. No empty platforms, no distant train, no sparse crowds, no centered symmetrical composition.
A cinematic macro close-up from a 1995 Hong Kong indie romantic drama, shot on 35mm film. Two young, unconventional-looking Korean lovers in their 20s ride a motorcycle across a bridge on the outskirts of Hong Kong at dawn.
The male driver wears no helmet, looking around anxiously, while the pale-skinned female passenger wears an open-face helmet. Their faces dominate the foreground, large and overlapping, with natural skin texture and subtle expressions of worry and tenderness.
Low-angle panoramic composition, framed by solid black bars. Shallow depth of field, blurred road receding behind them, orange streetlights streaking past, and a dark green dusk sky. Intimate, imperfect, melancholic 35mm film aesthetic.
One continuous shot.
Use the reference image as the exact visual basis for the world. Transform this illustrated city street into a fully explorable environment while preserving the exact illustration style, composition, color palette, and atmosphere of the reference image. Keep the clean stylized city look: simplified but detailed urban buildings, warm brick facades, storefront awnings, soft haze in the distance, orderly road markings, trees along the sidewalk, and a bright but slightly softened daytime sky. The whole world must keep the same polished illustrated aesthetic at all times, with no realism outside of that illustration style.
The camera should move forward smoothly and gently through the street as if gliding down the road, and it should be able to turn naturally into side streets or reveal new angles of the same city while staying fully coherent with the original scene. Keep the camera movement soft, fluid, and controlled, never abrupt or shaky. Preserve the straight avenue, sidewalks, crosswalks, traffic lights, poles, wires, trees, and tall city buildings fading in the background.
Add more diversity to the street while staying coherent with the original illustration. Not all cars should be taxis. Include a believable mix of illustrated vehicles such as taxis, private cars, delivery vans, bicycles, and parked vehicles, all rendered in the same exact illustration style. If people appear, they must not all look identical. Show variety in clothing, silhouettes, colors, ages, and roles, while keeping everyone fully consistent with the same illustrated urban world.
The city must feel alive with a natural urban soundscape throughout: soft traffic noise, distant engines, light tire sounds, faint city movement, subtle footsteps, and gentle everyday street ambience, all naturally integrated into the illustrated world.
Do not show any readable text anywhere in the scene. No text on buildings, no store signs, no billboards, no posters, no labels, no street text, and no visible lettering of any kind. Everything must remain cohesive, stylized, clean, and fully consistent with the original city illustration. No text, no visual glitches, no realistic photographic rendering.
Future applications
Genie 4’s worlds have the potential for a wide range of real-world applications, from creating playful interactive experiences to generating worlds where agents – like SIMA – can learn new skills.
Frontier robotics research
Experimenting with Genie 4 and Gemini Robotics
We’re exploring early applications of Genie 4 for robotics. In this example, Gemini 4 Argon creates a detailed multi-step plan to complete a task. The steps are shared as text captions to Genie 4 as the simulation is rendering.
This unlocks an infinite playground for robotics simulations.
Towards world simulation
The ability to explore an unlimited range of realistic environments is a key stepping stone on the path to AGI. Training and testing AI agents in truer-to-life environments brings us closer to their successful deployment in the physical world.
Join Project Genie waitlist
Genie 4 is available as a research preview for trusted testers, and will be coming soon starting with Google AI Ultra subscribers in Project Genie and early access partners of the Gemini API and Google AI Studio.
Limitations
Genie 4 is an early, evolving technology. There are many areas of ongoing research. We’re sharing Genie 4 in preview to learn alongside our community and safely advance the frontier of interactive simulation.
Interaction and simulation of other agents
Accurately modeling complex interactions between users, multiple independent agents, and shared environments is an ongoing research challenge.
Accurate representation of real-world locations
Genie 4 is currently unable to simulate real-world locations with perfect accuracy.
Text rendering
Clear and legible text is often only generated when it's in the input world description.
Limited interaction duration
The model can support a few minutes of continuous interaction, rather than extended sessions.
Audio accuracy
Real-time audio accuracy remains an area of ongoing research and improvement.
Responsibility
Genie 4 marks a new area of frontier research that merges real-time generation and photorealism, introducing a new range of capabilities and dimensions that we want to roll out and explore in a responsible way. Genie 4 includes strict safety guardrails that are consistent with our safety policies across other models.
Before launching this preview, we evaluated Genie 4 through internal rigorous safety evaluations to prevent the generation of harmful or malicious content. Also, we have intentionally deployed it first to trusted tester partners to get early feedback, before we release the model more broadly. To maintain transparency, all video and audio generated by Genie 4 will include SynthID, our imperceptible digital watermarking technology that helps identify AI-generated content across visual and audio modalities.
Acknowledgements
Genie 4 was made possible by core contributions from Hang Qi, Diego Rivas, Aleksander Hołyński, Inbar Mosseri, Jack Parker-Holder, Shlomi Fruchter, Tejas Kulkarni, James Assiene, Philip Ball, Jakob Bauer, Eddie Cao, Lucy Chai, Harris Chan, Kleopatra Chatziprimou, Hao Chen, Yoni Choukroun, Mark Collier, Enric Corona, Kurtis David, Ariel Ephrat, Maxime Gazeau, Ruiqi Gao, Chelsee Glover-Odom, Liangke Gui, Swaroop Guntupalli, Shan Han, Tingbo Hou, Jiri Hron, Hui Huang, Drew A. Hudson, Zhouyuan Huo, Linyi Jin, Christos Kaplanis, Dhrupad Karwa, Eunyoung Kim, Congtao Kuang, Eliot Laidlaw, José Lezama, Hao Li, Shuang Li, Yuchen Liu, Hanzi Mao, Mark Matthews, Matt McGill, Kay McKinney, Ricardo Monti, Mark Murphy, Joseph Ortiz, Roni Paiss, Frank Perbet, Ben Poole, Tal Reiss, Konstantinos Rematas, Guy Scully, Jeremy Shar, Shashank Shastry, Sri S, Omer Tov, Ruben Villegas, Andrey Voynov, Hongjie Wang, Luyu Wang, Kaustubh Sridhar, Mo Samsami, Stephen Spencer, Yufei Wang, Will Whitney, Rundi Wu, Joyce (Jingjing) Xie, Jesse Yin, Shiran Zada, Serena Zhang, Xiaofan Zhang, Zhengqi Li, Zhixing Zhang, Yuan Zhong, Shuo-yiin Chang, Dmitry Lagun, Ronny Huang, Yao Su, Ankush Gupta, Genzhi Ye, Haolin Jia, Weiqin Wang, Xi Xiong, Salah Zaiem, Carol Zheng.
Genie 4 also required close collaborations across partner teams, we thank all our cross-functional partners that made this launch possible: Dina Bashkirova, Emil Bergner, Greta Borisko, Irina Blok, Melissa Byun, Gabe Clapper, Viral Carpenter, Michael Y. Chang, Maximo Cudich-Sieburger, Chloe Doan, Alisa Fortin, Shivani Ghanta, Vikram Gopali, Ezra Gorman, Khyatti Gupta, Sam Hasinoff, Philipp Henzler, Hector Hinestroza, Ed Hirst, Tyler Holland, Kristian Holsheimer, Tiffany Hu, Kapil Joshi, Randeep Katari, Pavan Kumar, Vikhyat Kumeria, Sam Kvaalen, Matthew Levine, Yinxiao Li, Yuchi Liu, Miao Luo, Nick Matarese, Kangfu Mei, Signe Nørly, Moises Oliveira, Eric Paskie, Manika Puri, Susanna Ricco, Andrey Ryabtsev, Cai Schumann, Nicole Brichtova, Andy Sekyere, Grace Shih, Melissa Smith, Duncan Noble Smith, Kenda Stewart, Rod Strougo, Jenn Sturgeon, Amy Zeng, Gaby Pearl, Eleanor Tomlinson, Kenyon Watson, Inês Ayer, Luke Talbot, Han-Yun Tsao, Guillaume Vernade, Karen Wang, Changchang Wu, Ian Wilkinson, Weijuan Xi, Jennifer Yick, Yunhan Zhao, Eric Zhang, Jason Zhang, Annie Zhou, James Zhou, Chris Walker, Alan Yam, Alex Chen, Cliff Lungaretti, Dan Motzenbecker, Kaloyan Kolev, Matthew Carey, Nate Zucker, Sam Lawton, Shashwath Santosh, Suz Chambers.
Thanks to Raia Hadsell, Aäron van den Oord, Josh Woodward, Steve Seitz, Carlos Hernandez, Elias Roman, Jung E. Kim, Abhishek Bapna, Eli Collins, Tulsee Doshi, Carolina Parada, Jie Tan, Koray Kavukcuoglu and Demis Hassabis for their insightful guidance and support throughout the research process.
Lastly, we thank our trusted tester and early access users that have provided feedback to help guide our research forward.
Disclaimer
All recordings are of real-time interactions from Genie 4, where users use standard keyboard and mouse for navigation and camera controls, and text prompts to steer the scene as it evolves. Results for illustrative purposes. Sequences shortened.