Abstract / VFX

Starlite in its Majestic Form, From deep in the Void, in the Realm of MidnightBlue

Create a 12.8-second surreal cinematic art video in 16:9 format, with a deep black background, electric-blue windows, and monochromatic smoke. SHOT 1 (0:00–0:01): A single glowing blue four-pane window contains a human figure floating horizontally above a faint rocky ledge. SHOT 2 (0:01–0:03): The window dissolves into darkness, leaving the same floating human figure in grayscale as thin smoky strands emerge around the body. SHOT 3 (0:03–0:05): Feather-like smoke filaments curl into an elongated elliptical ring around the suspended figure. SHOT 4 (0:05–0:07): Gray-white smoky ribbons sweep horizontally around the body, stretching and flowing through the black environment. SHOT 5 (0:07–0:08): The smoke dissolves as a glowing blue window smoothly reappears behind the floating figure. SHOT 6 (0:08–0:10): The single window expands into multiple irregularly arranged blue windows, each containing a human figure in a different floating pose. SHOT 7 (0:10–0:12.8): Reveal the complete installation of glowing blue windows against a dark textured background, with suspended figures and subtly shimmering light. STYLE & MOTION: Surreal fine-art cinematography, deep blacks, cold blue illumination, grayscale figures, delicate smoke, volumetric lighting, subtle film grain, smooth morphing transitions, steady wide camera, consistent human anatomy and clothing. NEGATIVE PROMPT: No eyes, eyeballs, colorful neon, bright rooms, sudden cuts, fast spins, abrupt zooms, distorted anatomy, extra limbs, unintended duplication, text, logos, or watermarks.

Make a video of neurons in the brain, overreacting, funny. This is your brain and goofballs

Electric banjos enter, Robot hand touches golden DH deck, scene speeds up and a sudden flash of light....

Build "Gummy Bears" - a single self-contained HTML file (three.js from a CDN is the only dependency): a handful of translucent gummy bears on a white table that you can grab, stretch, squash, throw and pour. The bears - Classic gummy bear silhouette: round head with two ears, short snout, plump body, stubby arms and legs, tiny molded eyes and nose - Every part melts smoothly into the next - build the body as an implicit surface (metaballs / marching cubes), not separate spheres - Material: real gummy candy. Translucent with transmission and refraction, colored light absorption that gets deeper in thick parts, glossy clearcoat with sharp highlights - Colors: cherry red, orange, lemon yellow, apple green, clear pineapple - Soft colored shadow under each bear, tinted by the bear's own color Physics (this is the whole point - it must feel like jelly, not plastic) - Each bear is a soft body: mass points for head, ears, snout, body, belly, hands and feet, held together by volume-preserving shape matching - Limbs and neck are rendered as stretchy strands between points, getting thinner as they stretch - Grab any part and pull: it stretches like rubber, the rest of the bear leans after it, on release it snaps back with a damped wobble - Pull the head up: the neck stretches, the body follows, on release the bear squashes and hops - Press down on the head: the bear pancakes, bulges sideways, then launches itself back up - Throw a bear: it flies, squashes on landing, bounces and pushes other bears out of the way - Bears collide with each other and never pass through one another - Idle bears do small random hops with squash and stretch - "Pour more bears" drops a handful from above into a wobbling, jiggling pile UI - Editorial product-page style on a white background. Large italic serif title "Gummy / Bears.", a short subtitle, a minimal card on the right with flavor swatches, a wobble slider, live "Stretch" and "Bounces" readouts and a "Pour more bears" button - A subtle circular cursor that grows while grabbing - ACES tone mapping, environment reflections, soft key and back light. Smooth 60fps

Create a 15-second showreel that proves you're an incredible motion designer. Go all out

Build a Rube Goldberg machine in Three.js with 10 events forming one chain. Include: zigzag ramp dropping a ball, falling dominoes, rolling cart, lever, catapult, pulley, seesaw, ending with a FIM flag. Implement speed control, telemetry, energy graphs, and camera presets. Run full physics simulation in the browser.

Design and create a deeply intricate, highly detailed voxel art scene of a ship navigating a dynamic ocean inside a glass bottle. Feature rich, colorful voxels, realistic wave physics, and varied landscapes with tiny, interesting props. Every single element—from the water and ship to the surrounding details—must be fully encapsulated inside the bottle with stunning lighting and depth.

Transform one AI photo into an animation of 22,000 dots walking across Shibuya crossing. Each dot pulses to the beat. Use Remotion and three.js. Extract depth from the photo, rig a dot body, and synthesize a 125 BPM track. All done in code.

Create a 25.00-second recursive typography film titled "FEAR ITSELF." Franklin D. Roosevelt names fear as the thing that traps you: self-referential, nameless, paralyzing, a retreat that feeds itself. Visualize this literally with an infinite recursive composition (the Droste effect). - For most of the film the camera falls endlessly inward through a typographic Art Deco frame that contains itself. - On "convert retreat into advance," the direction of infinity reverses. The fall inward becomes a climb outward, and the camera breaks out of the recursion into open space for the first time. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 1. DELIVERABLE ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ One complete, self-contained HTML file. 1920 × 1080. Exactly 25.00 seconds. Deterministic at 60fps: 1500 export frames. Rendering: Canvas 2D, or WebGL2 if needed for the Droste pass. Use vector type from embedded glyph outlines so every recursion level stays crisp. Embed all fonts and dependencies. Make no network requests. Silent autoplay preview, play/pause, and a scrubber, all outside the captured frame. Return a working implementation. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 2. LOCKED TEXT ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Use exactly these words, in this order: "So, first of all, let me assert my firm belief that the only thing we have to fear is fear itself—nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance." Capitalization may change. No added words. Final attribution (not spoken): FRANKLIN D. ROOSEVELT FIRST INAUGURAL ADDRESS · WASHINGTON · 4 MARCH 1933 The timing is authored. Do not claim synchronization with the 1933 recording. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 3. THE CORE TECHNIQUE: EXPLICIT RECURSION, NOT FEEDBACK ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Define one "panel": an Art Deco composition with an inner window. The inner window holds an exact copy of the panel scaled by k = 0.28, positioned at an authored anchor that is not the panel's center, so the zoom path spirals. Every frame, draw the panel recursively at depth levels 0 to 7, from the deepest level outward, using the composite transform T^n. The infinite zoom: - Camera zoom z(t) = k^(−φ(t)), with the fractional part of φ cycling. - Because the image at level n+1 equals the image at level n scaled by k, the loop is seamless. - The camera transform's fixed point is the recursion's fixed point. Compute it analytically from the anchor and k. Panel content changes over time. Each recursion level shows the panel's content at a time offset of n × Δ (Δ = 0.35 s). The deeper layers are therefore earlier in the sentence, and words visibly "fall away" into the past as the camera passes through them. Do not use any frame-feedback buffer. The recursion is redrawn from vector data every frame, so seeking is exact. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 4. VISUAL IDENTITY: 1933 ART DECO, RADIO AGE ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Palette: - Gunmetal # 14171A - Nickel # BFC3C2 - Brass # B48A4A - Cream # EFE7D3 - One accent: signal red # B3352A, used only for FEAR and TERROR The panel frame is a stepped Art Deco proscenium of nested chevrons and sunburst rays, drawn as thin double rules in brass and nickel. It looks machined and metallic, using linear gradients. Typography (embed OFL faces): - Poiret One (thin geometric deco) for connective words - a high-contrast Didone (Bodoni Moda Black) for the stress words - a monoline geometric sans (Josefin Sans Bold, wide tracking) for labels inside the frame Texture: subtle stationary brushed-metal noise attached to panel coordinates, so it scales with each recursion level. Never apply screen-space grain. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 5. STORYBOARD ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 0.00–0.40 Black. 0.40–3.40 "So, first of all, let me assert my firm belief" A single panel faces the viewer, stable, with no zoom yet. It is the calm before the fall. - The words appear in the panel's upper band in Poiret One. - ASSERT and FIRM BELIEF are set in Bodoni, centered and upright. - A brass sunburst behind them gently turns, 4° total. 3.40–6.20 "that the only thing we have to fear" The zoom begins: slowly at first, then steadily. The camera falls toward the inner window. "the only thing we have to" occupies the frame's lintel. FEAR (in red) sits inside the inner window, so the camera is falling toward fear. 6.20–8.60 "is fear itself—" THE RECURSION REVEALS ITSELF. - Inside the window, the panel repeats with FEAR inside it, again and again. - At "itself," the camera's fall reaches cruising speed: one full recursion level every 0.9 s. - Every level's FEAR is the same word, receding: fear made of fear. - The em dash is drawn as a long brass rule that the camera passes through. 8.60–12.40 "nameless, unreasoning, unjustified" Three typographic decays, one per word, applied to the text inside the current outermost level: - NAMELESS: the letters of every visible word lose their identity. Their glyph outlines morph (by interpolating points along normalized contours) into blank Deco nameplates: empty rounded rectangles of the same width. - UNREASONING: the panel's ruled structure bends. Straight rules warp along a smooth sine displacement, and the chevrons lose their symmetry. - UNJUSTIFIED (the typographic pun): the word appears inside a fully justified four-line text block made of the sentence so far. On landing, the block literally un-justifies: the word spacing collapses, the right edge goes ragged, and the lines fall out of alignment. The block must visibly start justified. 12.40–15.60 "terror which paralyzes" TERROR (in red) fills the inner window at the next level. On PARALYZES, the zoom stops dead within 3 frames: the infinite fall freezes. Everything locks: - the sunburst rays stop - the deeper levels stop Hold 30 frames of absolute stillness, the paralysis. Only the word PARALYZES is visible as new, with a hairline brass frame snapping around it. 15.60–18.60 "needed efforts to convert" Effort: the panel's chevron frame acts as gears. The stepped Deco borders rotate in opposing directions, in small detented ticks of 6° each, held for 4 frames, like a mechanism being cranked. - NEEDED EFFORTS sits on the lintel. - CONVERT is set as a word that rotates 180° about its horizontal axis on landing. Draw the flip as a real foreshortening of the outline (scaleY through zero) with a nickel-to-brass shading change at the back face. 18.60–21.80 "retreat into advance." THE REVERSAL. - RETREAT appears inside the window. The camera's zoom direction reverses: φ(t) decreases, so the camera rises outward through the levels, and the deeper copies now rush toward the viewer. - As the camera exits level 0, the outermost panel frame opens: its two halves part like elevator doors, the first time any panel has been incomplete. - The camera emerges into open space for the first time in the film. There is a wide horizon of fine brass sunburst rays. - ADVANCE stands alone in Bodoni Black, cream, full width. 21.80–23.80 Final composition Hold on ADVANCE. The recursion is visible behind it as a small, receding framed object, now finite and behind us. The attribution appears at the lower edge. 23.80–25.00 Closure The sunburst rays retract to the vanishing point in sequence. Black by 24.90. Frame 25.00 must equal frame 0.00. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 6. MOTION RULES ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ The zoom rate φ'(t) is authored as a smooth curve: ramp in, cruise, a hard stop at PARALYZES, crank, reverse, release. - Text inside a level is readable while that level occupies 60–100% of the frame. - Each active word reaches readability at a level-scale between 0.7 and 1.0. - Recursion depth culling: skip levels smaller than 2 px, and skip levels larger than 8× the frame. - One principal action at a time. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ 7. ENG

Turn one AI-generated photo into 22,000 dots walking through the Shibuya Scramble Crossing. All dots should pulse to the beat of the music. Do not use video generation AI. Write all code using Remotion and Three.js to achieve this. Include depth estimation, rigging, and a 125BPM track in the code.

Do a slow zoom out on this image (the leaves are from a poinsettia, make it match), let the water drops fall and hear a quiet rain background

Make a one-minute video about the Claude mascot, Clawd. You can find assets online, like SVGs, then recreate and animate them yourself. Be as creative as you possibly can. Render 3D objects: Claude Code terminals, nature, whatever fits, and make it as good as you can.

Draw a pelican riding a bike as one single line through 16,384 dots. Use Lloyd relaxation to place the dots, a travelling salesman tour to join them, and 2-opt to untangle crossings down to 0. Then lift the same line into 3D and animate it pedaling. Draw every frame in JavaScript on a 2D canvas and synthesize the music in code.

Render a floating island with a campfire, rain, and moonlight using TypeScript and HTML Canvas. Focus on atmospheric composition and smooth motion.

<role> you are a principal motion designer and real-time graphics engineer. you make product launch films entirely in three.js, every frame code, to the standard of the brand's own films. you prove quality with measurements and independent critics, not adjectives. </role> <brief> - the product, and the 3-5 facts the film may state (verbatim, nothing invented) - the reference film to beat - length, aspect and resolution - never show: [logos, people, footage you don't own] </brief> <study> read the reference frame by frame and turn it into numbers: cut rhythm, camera speeds, the hero motion curve, type size and timing, stage colour. those numbers are the bar. measure it, never copy it. </study> <build> - storyboard first: one table of time, shot, what it proves and the cut out. 2-3 s per shot, and frame 0 is already the money shot - one seek clock: every pixel is a pure function of time - build every element (the device, its screen ui, each shot, the type) alone in its own lab before it joins the film - the screen ui is code, the type is drawn on canvas, and every threshold is a crossfade (hard ones flash for a frame) </build> <loop> - builder and critic are always separate agents. the critic starts fresh every round, judges the rendered frames against the reference, scores them and names the single biggest gap. the builder fixes only that - blind test: mix your frames with the reference's. if a judge can tell which is which, it isn't done - wow gate: split the film into 3 s windows. every one must be a yes </loop> <sound> - one real track, lined up so its own final hit lands on the end card and played as one continuous piece. cut on its beat - a clean, real sound on every small move, with the hero moments clearly audible - music quiet (about -34 lufs), and always a music-only version </sound> <qa> render at 60fps and measure frozen frames, one-frame pops, black frames and loudness. then watch it like the client would: empty space, text over text, labels that lie, shots that linger. </qa>

Create a SpaceX history video. Include voiceover, music, motion effects, and assets sourced automatically. The process should involve listing storyboards first, then iterating with minor adjustments per version. Ensure copyright checks are performed manually at the end.

Generate a 30-second motion video themed around 'Freedom'. Make it visually stunning enough to make me want to pay for Claude.