Explore free Channel Intro / Brand Asset video prompts from YouMind's AI prompt library, grouped under use cases. Every prompt is curated from real creative workflows and ready to copy, adapt, and reuse.
Create a surprise party scene for Leo, the lanars_inc mascot, celebrating a 10th birthday. Use zero external assets. Model the room, lions, cake, camera moves, and all sounds directly in code within a single three.js file. Ensure everything is generated programmatically without drawing or recording.
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
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.
<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 dynamic 20-second commercial in motion graphics that conveys the charm of Takuma Fukuda's YouTube channel at EXTAGE Inc. (https://t.co/JkBvRrREDZ). Research the channel and company, using only official facts and materials. Do your best to make it look like work from a top-tier production company.
Please create a high-impact video of about 30 seconds. Use rich production techniques that maximize the strengths of Opus 5.5. The content of the video should demonstrate what can be achieved with Opus 5.5.
Create a PR video for Asbel. Please create a dynamic 1-minute motion graphics video that demonstrates how wonderful a motion designer you are. Do your best. Reference X: (Your X URL) Reference YouTube: (Your Channel URL)
Create a dynamic 15-second motion graphics video using this image to demonstrate how amazing you are as a motion designer. Make it look like a showreel for a resume, and give it your all.
Generate a 15-second brand promotional animation: Theme "Anthropic", with automatic storyboarding, motion effects, and transitions. You can find your own assets; showcase your capability limits as much as possible. I want an advertising promo film with sufficient artistic sense and premium feel.
Make a 20-second 16:9 motion graphics video that tells a little story with sound. For the first 12 seconds there is no sound at all: on a warm paper background, the words "make it catchy." type themselves out, then the letters fall apart and build a colorful music machine piece by piece: ramps, spinning gears, a row of blocks like piano keys and a big drum. It ends with a ball waiting at the top. At 12 seconds the ball drops and the machine comes alive. Every block it hits plays a note, the drum kicks, the gears tick in rhythm, and it all becomes a catchy 4-second beat. Then everything snaps into the words "ONE PROMPT" on a final hit, followed by silence. Use bold geometric shapes in ink black, cobalt blue and sunflower yellow, and make every sound match a movement you can see. Go all out and render the final MP4.
<direction> Build a 30-second looping motion design showreel that introduces CLAUDE, a motion designer. Concept, in one line: one pencil line gets promoted three times (graphite on paper, wire on a blueprint, light on black) and never leaves the screen. Every shot is made out of the previous one: shapes, type and colour transform into the next scene. No cuts, no fades. Typeface: Geist only. Weight 900 for big words, 600 to 800 for small labels (24 to 28 px, tracked 0.14 to 0.3 em). Palette: paper cream #EDE6D5, blueprint blue #1B3ED2, hologram cyan #45F0DD, plus black #07080A, graphite #16161A and white. Each stage's accent is the next stage's colour: blue pencil on paper, cyan on the blueprint, white on the hologram. Camera: locked and front-on for the whole film, like a drafting table. Objects turn; the camera never moves. Empty border: nothing at rest within 150 px of the sides or 90 px of the top and bottom. Things travelling through may cross it. Three inks. The same geometry is drawn in whichever ink is on screen: - PAPER: a cream paper background (use my paper image if I give one, otherwise flat cream with fine drawn grain) with a 60 px blue grid at about 13% and every fifth line at 26%. Lines are pencil: resampled and pushed off true by slow sine waves whose phase changes 8 times a second, stroked twice (full width at 90%, half width at 40% with more wobble), with paper tooth knocked out of the strokes, then multiplied onto the paper. Fills are diagonal hatching drawn on one line at a time. Big type is hatching cut to the letter shapes, with a doubled outline. - BLUEPRINT: flat blue with the same grid in white. Clean white lines 3 to 4 px, hidden edges dashed and thinner, fills are fine clean hatching. - HOLOGRAM: black with the same grid in cyan. Cyan lines with a white core 30% of the line width. Fills are horizontal scan lines on an 8 px pitch whose thickness follows how lit the surface is. No blur halo anywhere: it reads as light through line density only. Banned: particle bursts, glows, lens flares, camera shake, RGB split, crossfades, generic gradients, bouncy easing, holds longer than half a second, anything that looks like a template. </direction> <structure> 120 BPM, 60 beats, 15 bars of 2 seconds. Something happens on every beat. Moves start 0.05 s before their beat so they land on it. Easing: a critically damped spring, 1 - (1 + w t) e^(-w t) with w between 12 and 40, so nothing ever passes its target; exponential ease-in and ease-out for wipes, presses and exits. Scene changes: paper to blueprint by a shape that floods the frame with a hard edge; blueprint to hologram and hologram to paper by one horizontal scan line. The last frame is the first frame, so it loops. Two corner labels stay on all film: top left "FIG. 07 — GEAR" (bar number and name), bottom right "BEAT 27 / 60". Bar names: DRAFT, TYPE, CURVE, MORPH, TILE, SOLID, GEAR, PANEL, DATA, LIGHT, WAVE, GLOBE, DRUM, FORM, END. </structure> <mascot> The creative director: a small box character. Body 76 x 54 units with rounded corners, two short arm stubs (24 x 16) at mid height, four straight legs (11 x 33), two tall rounded-rectangle eyes (8 x 14). Draw it about 250 px wide. Its right arm is raised 58 degrees holding a pencil. On paper: graphite outline with sparse blue hatching and graphite eyes. In the hologram: cyan outline with scan-line fill and white eyes. It is never a fourth colour. It runs with alternate leg pairs lifting, six steps a second, leaning 7 degrees into the run. </mascot> <storyboard> Bar 1, HOOK, 0-2 s, paper. Frame 0: CLAUDE in Geist 900, fitted to 1500 px wide, centred, pencil-hatched. INTRODUCING small above it, A MOTION DESIGNER small below. A pencil rail 1620 px wide sits 96 px above the letters. The mascot stands on the rail at x = 1560 with CREATIVE DIRECTOR lettered to its left. 0.0: the small lines un-type; the mascot runs off the right edge, accelerating. 0.36 to 0.5: the rail drops, accelerating, to 26 px below the baseline and presses the letters flat into itself. 1.0: the line rises to the middle, shortens to 1320 px and splits into two rails 140 px apart; 41 blue ruler ticks sweep along the top rail. 1.5: the rails open to 300 px; a blue height dimension draws at the right with a live number. Bar 2, KINETIC TYPE, 2-4 s, paper. Words sit between the rails and are clipped to that slot; the rails move to fit each word. 2.0: INTRODUCING rises through the baseline letter by letter, then lifts out through the top. 2.5: A MOTION whips in from the left (1400 px in 0.2 s). 3.0: the rails clap shut on it and reopen, stretching DESIGNER out of the line; its letters then fly out sideways. 3.5: CLAUDE in blue pencil, letters dropping from above one every 0.05 s. At 4.0 the rails close and crush it into one line 1476 px long. Bar 3, CURVES, 4-6 s, paper. 4.1: the line gets pen-tool handles (430 px long at 58 degrees, small squares at the ends, circles on the handle tips, the label EASE) and bends into an S. 4.5: the handles swing to the mirror angle; eight blue copies fan out 34 px apart, joined at both ends like a leaf. 5.0: handles retract; the ribbon becomes travelling sine waves (amplitude 92 px, 2.75 cycles, each line a little out of phase). 5.5: it gathers back into one flat line. Bar 4, SHAPE MORPH, 6-8 s, paper. 6.1: the line curls into a circle of radius 235 (curvature grows, length stays). 6.5: triangle, turning 120 degrees as it changes. 7.0: square. 7.5: hexagon, point up, radius 270. Blue hatching builds inside, then cross-hatching. Bar 5, TILING, 8-10 s, paper. 8.0: the hexagon shrinks to radius 96 and six more slide out around it. 8.5: twelve more, a honeycomb of 19. 9.0: dense hatching sweeps across until every cell is solid blue. 9.6 to 10.0: the centre cell's shape grows past the frame with a hard edge; inside it is the blueprint, with the honeycomb in white line. Bar 6, 2D TO 3D, 10-12 s, blueprint. 10.0: three lines draw inside every hexagon, plus three dashed hidden ones: each is a cube seen corner-on. 10.5: the eighteen outer cubes slide into the centre one, which grows to radius 270. 11.0: it turns a quarter and perspective switches on. 11.5: it faces front. Bar 7, MECHANISM, 12-14 s, blueprint. 12.0: the cube flattens and its front square grows teeth: a 16-tooth gear, pitch radius 208. From 12.25 the train steps 45 degrees on every eighth note. 12.5: a 10-tooth gear grows out to the upper right, meshing. 13.0: a 12-tooth gear to the upper left. Each has a dashed pitch circle, a hub and a label (16T, 10T, 12T). 13.5: the small gears retract; the gear becomes a square again and the cube gets its depth back. Bar 8, UNFOLD, 14-16 s, blueprint. 14.0: the cube unfolds on its hinges into a cross of six squares. 14.5: the squares slide and stretch into six panels: a header strip, a tall sidebar, a wide chart, two tiles, a timeline strip. 15.0: they fill in. Header: "CLAUDE — MOTION REEL", a BARS / RING switch, a LIGHT toggle. Chart: 30 bars, one per second of this film, heights 42 30 36 44 50 46 52 62 50 56 62 72 60 66 58 76 56 62 68 74 70 78 86 94 100 93 97 90 80 50. Timeline: the 15 bar names, a keyframe diamond on each. 15.5: counters roll up: 120 BPM, 60 BEATS, 1800 FRAMES, 0 CUTS. Bar 9, DATA, 16-18 s, blueprint. 16.0: a graph line draws across the bar tops; a cyan playhead lands on the timeline at the real time. The current second's bar is solid cyan, earlier ones hatched, later ones outlined. A cursor arrives. 16.5: it clicks RING: the chart's baseline bends round into a circle of radius 110 with the ba
<inputs> Ask me for: a short label for the first toggle, one main word, a percentage for the graph, text for the final card, one accent color and a track with a clear beat. </inputs> <direction> A 2D motion design film in 16:9. Use a warm off-white canvas, near-black backgrounds, bold type and one vivid orange accent. The orange dot links every scene: it begins in the UI, becomes the dot above a letter, draws a spring graph, expands into a shape and reappears on the end card. A cursor makes the opening click feel real. Keep the movement crisp and controlled, with subtle spring overshoots and no empty pauses. Banned: stock footage, gradients, glows, particle bursts, arbitrary transitions and movement that doesn't grow from something already on screen. </direction> <structure> Around 15 seconds, with a visual change on every major beat. Open: a cursor clicks the orange toggle beside "Reduce Motion". The letters bend and shift into place until only "Motion" remains, with the orange dot above the "i". Spring: the dot leaps away from the word and lands on a graph. Its trajectory draws a spring response, passes the target and settles next to a "+22%" callout. Shape: the dot races along a line, expands into an orange circle and fills the frame. A black rounded square rotates inside it, then extends into a pill. Everything contracts into one orange dot on black. Type: words including "SPRINGS", "EASING", "KINETIC TYPE", "3D" and "SOUND" circle the dot. The ring of words spreads into a field of tiny dots. Reveal: the halftone field expands and turns black, uncovering the final card: "Opus 5.5", "Motion designer." and "0 keyframes". Return: the orange dot travels back through the halftone, graph and toggle. Make the last frame match the first for a seamless loop. </structure> <build> 1. Use one HTML file, 1920x1080 at 60fps. Calculate every visual from time inside seek(t): no CSS transitions, timers or state carried between frames. 2. Use closed-form springs for the toggle, moving dot and graph. Draw the graph with the same spring function that controls the dot. 3. Move the letters individually as "Reduce Motion" becomes "Motion". Keep the orange dot above the "i" until it jumps away. 4. Treat the orange circle, rotating square and pill as states of one shape. Carry its position and momentum through each change. 5. Arrange the words on a circular path, then send their letters outward to transition into the halftone grid. 6. Draw the halftone as a dot grid whose sizes react to the orange dot. Expand it beyond the frame before showing the end card. 7. Align the click, dot landing, graph peak, shape changes and final title with measured beats. Render one frame per beat to check timing before the full export. </build>
a 3D logo intro studio in ONE single HTML file with three.js. 3 example logos or paste your SVG; pieces fly in, assemble, rotate, a flash passes, and the name appears letter by letter. Chrome, gold, glass, clay, or neon.
Make a dynamic 15-30 second motion graphics video that shows what an incredible motion designer you are, like it's your showreel for a résumé. go all out. It should be a launch video for https://t.co/VOMwpsnr3w. Extra context: App Store link and app screenshots.
Opus 5.5: a hand-drawn story. a little agent wakes up at its desk, gets feedback notes, fixes them, ends on heart eyes and a green check. 53 s Sonnet 5.5: a kinetic type showreel. six easing curves, a morphing star, particles, blurred type, "every frame written in code". 15 s Haiku 5.5: a step-by-step White Russian recipe. ice, vodka, coffee liqueur, cream, with live counters and a checklist. 30 s
Scan all the components from the given page, fetch the brand detailing including logo. Make me a high end teaser video for this specific feature.
The card should scale in from 30% to 100% scale and transition from invisible to visible. Every detail should slide in orderly, one after the other, once the card settles at its final scale. The graph line should animate in like a line path. The glow at the back should become visible as the card details slide in. The two rectangles should move across the screen at slightly different timings to create a light effect.
Knowing everything you know about our product, make a dynamic 15-second motion graphics video that shows what an incredible motion designer you are, like it's your showreel for a resume. Go all out. Insane SFX, insane story, insane motion and transitions and effects. Extract each frame, listen to it and understand them fully.
Create a surprise party scene for Leo, the lanars_inc mascot, celebrating a 10th birthday. Use zero external assets. Model the room, lions, cake, camera moves, and all sounds directly in code within a single three.js file. Ensure everything is generated programmatically without drawing or recording.
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.
Create a dynamic 20-second commercial in motion graphics that conveys the charm of Takuma Fukuda's YouTube channel at EXTAGE Inc. (https://t.co/JkBvRrREDZ). Research the channel and company, using only official facts and materials. Do your best to make it look like work from a top-tier production company.
Create a PR video for Asbel. Please create a dynamic 1-minute motion graphics video that demonstrates how wonderful a motion designer you are. Do your best. Reference X: (Your X URL) Reference YouTube: (Your Channel URL)
Generate a 15-second brand promotional animation: Theme "Anthropic", with automatic storyboarding, motion effects, and transitions. You can find your own assets; showcase your capability limits as much as possible. I want an advertising promo film with sufficient artistic sense and premium feel.
<direction> Build a 30-second looping motion design showreel that introduces CLAUDE, a motion designer. Concept, in one line: one pencil line gets promoted three times (graphite on paper, wire on a blueprint, light on black) and never leaves the screen. Every shot is made out of the previous one: shapes, type and colour transform into the next scene. No cuts, no fades. Typeface: Geist only. Weight 900 for big words, 600 to 800 for small labels (24 to 28 px, tracked 0.14 to 0.3 em). Palette: paper cream #EDE6D5, blueprint blue #1B3ED2, hologram cyan #45F0DD, plus black #07080A, graphite #16161A and white. Each stage's accent is the next stage's colour: blue pencil on paper, cyan on the blueprint, white on the hologram. Camera: locked and front-on for the whole film, like a drafting table. Objects turn; the camera never moves. Empty border: nothing at rest within 150 px of the sides or 90 px of the top and bottom. Things travelling through may cross it. Three inks. The same geometry is drawn in whichever ink is on screen: - PAPER: a cream paper background (use my paper image if I give one, otherwise flat cream with fine drawn grain) with a 60 px blue grid at about 13% and every fifth line at 26%. Lines are pencil: resampled and pushed off true by slow sine waves whose phase changes 8 times a second, stroked twice (full width at 90%, half width at 40% with more wobble), with paper tooth knocked out of the strokes, then multiplied onto the paper. Fills are diagonal hatching drawn on one line at a time. Big type is hatching cut to the letter shapes, with a doubled outline. - BLUEPRINT: flat blue with the same grid in white. Clean white lines 3 to 4 px, hidden edges dashed and thinner, fills are fine clean hatching. - HOLOGRAM: black with the same grid in cyan. Cyan lines with a white core 30% of the line width. Fills are horizontal scan lines on an 8 px pitch whose thickness follows how lit the surface is. No blur halo anywhere: it reads as light through line density only. Banned: particle bursts, glows, lens flares, camera shake, RGB split, crossfades, generic gradients, bouncy easing, holds longer than half a second, anything that looks like a template. </direction> <structure> 120 BPM, 60 beats, 15 bars of 2 seconds. Something happens on every beat. Moves start 0.05 s before their beat so they land on it. Easing: a critically damped spring, 1 - (1 + w t) e^(-w t) with w between 12 and 40, so nothing ever passes its target; exponential ease-in and ease-out for wipes, presses and exits. Scene changes: paper to blueprint by a shape that floods the frame with a hard edge; blueprint to hologram and hologram to paper by one horizontal scan line. The last frame is the first frame, so it loops. Two corner labels stay on all film: top left "FIG. 07 — GEAR" (bar number and name), bottom right "BEAT 27 / 60". Bar names: DRAFT, TYPE, CURVE, MORPH, TILE, SOLID, GEAR, PANEL, DATA, LIGHT, WAVE, GLOBE, DRUM, FORM, END. </structure> <mascot> The creative director: a small box character. Body 76 x 54 units with rounded corners, two short arm stubs (24 x 16) at mid height, four straight legs (11 x 33), two tall rounded-rectangle eyes (8 x 14). Draw it about 250 px wide. Its right arm is raised 58 degrees holding a pencil. On paper: graphite outline with sparse blue hatching and graphite eyes. In the hologram: cyan outline with scan-line fill and white eyes. It is never a fourth colour. It runs with alternate leg pairs lifting, six steps a second, leaning 7 degrees into the run. </mascot> <storyboard> Bar 1, HOOK, 0-2 s, paper. Frame 0: CLAUDE in Geist 900, fitted to 1500 px wide, centred, pencil-hatched. INTRODUCING small above it, A MOTION DESIGNER small below. A pencil rail 1620 px wide sits 96 px above the letters. The mascot stands on the rail at x = 1560 with CREATIVE DIRECTOR lettered to its left. 0.0: the small lines un-type; the mascot runs off the right edge, accelerating. 0.36 to 0.5: the rail drops, accelerating, to 26 px below the baseline and presses the letters flat into itself. 1.0: the line rises to the middle, shortens to 1320 px and splits into two rails 140 px apart; 41 blue ruler ticks sweep along the top rail. 1.5: the rails open to 300 px; a blue height dimension draws at the right with a live number. Bar 2, KINETIC TYPE, 2-4 s, paper. Words sit between the rails and are clipped to that slot; the rails move to fit each word. 2.0: INTRODUCING rises through the baseline letter by letter, then lifts out through the top. 2.5: A MOTION whips in from the left (1400 px in 0.2 s). 3.0: the rails clap shut on it and reopen, stretching DESIGNER out of the line; its letters then fly out sideways. 3.5: CLAUDE in blue pencil, letters dropping from above one every 0.05 s. At 4.0 the rails close and crush it into one line 1476 px long. Bar 3, CURVES, 4-6 s, paper. 4.1: the line gets pen-tool handles (430 px long at 58 degrees, small squares at the ends, circles on the handle tips, the label EASE) and bends into an S. 4.5: the handles swing to the mirror angle; eight blue copies fan out 34 px apart, joined at both ends like a leaf. 5.0: handles retract; the ribbon becomes travelling sine waves (amplitude 92 px, 2.75 cycles, each line a little out of phase). 5.5: it gathers back into one flat line. Bar 4, SHAPE MORPH, 6-8 s, paper. 6.1: the line curls into a circle of radius 235 (curvature grows, length stays). 6.5: triangle, turning 120 degrees as it changes. 7.0: square. 7.5: hexagon, point up, radius 270. Blue hatching builds inside, then cross-hatching. Bar 5, TILING, 8-10 s, paper. 8.0: the hexagon shrinks to radius 96 and six more slide out around it. 8.5: twelve more, a honeycomb of 19. 9.0: dense hatching sweeps across until every cell is solid blue. 9.6 to 10.0: the centre cell's shape grows past the frame with a hard edge; inside it is the blueprint, with the honeycomb in white line. Bar 6, 2D TO 3D, 10-12 s, blueprint. 10.0: three lines draw inside every hexagon, plus three dashed hidden ones: each is a cube seen corner-on. 10.5: the eighteen outer cubes slide into the centre one, which grows to radius 270. 11.0: it turns a quarter and perspective switches on. 11.5: it faces front. Bar 7, MECHANISM, 12-14 s, blueprint. 12.0: the cube flattens and its front square grows teeth: a 16-tooth gear, pitch radius 208. From 12.25 the train steps 45 degrees on every eighth note. 12.5: a 10-tooth gear grows out to the upper right, meshing. 13.0: a 12-tooth gear to the upper left. Each has a dashed pitch circle, a hub and a label (16T, 10T, 12T). 13.5: the small gears retract; the gear becomes a square again and the cube gets its depth back. Bar 8, UNFOLD, 14-16 s, blueprint. 14.0: the cube unfolds on its hinges into a cross of six squares. 14.5: the squares slide and stretch into six panels: a header strip, a tall sidebar, a wide chart, two tiles, a timeline strip. 15.0: they fill in. Header: "CLAUDE — MOTION REEL", a BARS / RING switch, a LIGHT toggle. Chart: 30 bars, one per second of this film, heights 42 30 36 44 50 46 52 62 50 56 62 72 60 66 58 76 56 62 68 74 70 78 86 94 100 93 97 90 80 50. Timeline: the 15 bar names, a keyframe diamond on each. 15.5: counters roll up: 120 BPM, 60 BEATS, 1800 FRAMES, 0 CUTS. Bar 9, DATA, 16-18 s, blueprint. 16.0: a graph line draws across the bar tops; a cyan playhead lands on the timeline at the real time. The current second's bar is solid cyan, earlier ones hatched, later ones outlined. A cursor arrives. 16.5: it clicks RING: the chart's baseline bends round into a circle of radius 110 with the ba
a 3D logo intro studio in ONE single HTML file with three.js. 3 example logos or paste your SVG; pieces fly in, assemble, rotate, a flash passes, and the name appears letter by letter. Chrome, gold, glass, clay, or neon.
Opus 5.5: a hand-drawn story. a little agent wakes up at its desk, gets feedback notes, fixes them, ends on heart eyes and a green check. 53 s Sonnet 5.5: a kinetic type showreel. six easing curves, a morphing star, particles, blurred type, "every frame written in code". 15 s Haiku 5.5: a step-by-step White Russian recipe. ice, vodka, coffee liqueur, cream, with live counters and a checklist. 30 s
Knowing everything you know about our product, make a dynamic 15-second motion graphics video that shows what an incredible motion designer you are, like it's your showreel for a resume. Go all out. Insane SFX, insane story, insane motion and transitions and effects. Extract each frame, listen to it and understand them fully.
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
<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>
Please create a high-impact video of about 30 seconds. Use rich production techniques that maximize the strengths of Opus 5.5. The content of the video should demonstrate what can be achieved with Opus 5.5.
Create a dynamic 15-second motion graphics video using this image to demonstrate how amazing you are as a motion designer. Make it look like a showreel for a resume, and give it your all.
Make a 20-second 16:9 motion graphics video that tells a little story with sound. For the first 12 seconds there is no sound at all: on a warm paper background, the words "make it catchy." type themselves out, then the letters fall apart and build a colorful music machine piece by piece: ramps, spinning gears, a row of blocks like piano keys and a big drum. It ends with a ball waiting at the top. At 12 seconds the ball drops and the machine comes alive. Every block it hits plays a note, the drum kicks, the gears tick in rhythm, and it all becomes a catchy 4-second beat. Then everything snaps into the words "ONE PROMPT" on a final hit, followed by silence. Use bold geometric shapes in ink black, cobalt blue and sunflower yellow, and make every sound match a movement you can see. Go all out and render the final MP4.
<inputs> Ask me for: a short label for the first toggle, one main word, a percentage for the graph, text for the final card, one accent color and a track with a clear beat. </inputs> <direction> A 2D motion design film in 16:9. Use a warm off-white canvas, near-black backgrounds, bold type and one vivid orange accent. The orange dot links every scene: it begins in the UI, becomes the dot above a letter, draws a spring graph, expands into a shape and reappears on the end card. A cursor makes the opening click feel real. Keep the movement crisp and controlled, with subtle spring overshoots and no empty pauses. Banned: stock footage, gradients, glows, particle bursts, arbitrary transitions and movement that doesn't grow from something already on screen. </direction> <structure> Around 15 seconds, with a visual change on every major beat. Open: a cursor clicks the orange toggle beside "Reduce Motion". The letters bend and shift into place until only "Motion" remains, with the orange dot above the "i". Spring: the dot leaps away from the word and lands on a graph. Its trajectory draws a spring response, passes the target and settles next to a "+22%" callout. Shape: the dot races along a line, expands into an orange circle and fills the frame. A black rounded square rotates inside it, then extends into a pill. Everything contracts into one orange dot on black. Type: words including "SPRINGS", "EASING", "KINETIC TYPE", "3D" and "SOUND" circle the dot. The ring of words spreads into a field of tiny dots. Reveal: the halftone field expands and turns black, uncovering the final card: "Opus 5.5", "Motion designer." and "0 keyframes". Return: the orange dot travels back through the halftone, graph and toggle. Make the last frame match the first for a seamless loop. </structure> <build> 1. Use one HTML file, 1920x1080 at 60fps. Calculate every visual from time inside seek(t): no CSS transitions, timers or state carried between frames. 2. Use closed-form springs for the toggle, moving dot and graph. Draw the graph with the same spring function that controls the dot. 3. Move the letters individually as "Reduce Motion" becomes "Motion". Keep the orange dot above the "i" until it jumps away. 4. Treat the orange circle, rotating square and pill as states of one shape. Carry its position and momentum through each change. 5. Arrange the words on a circular path, then send their letters outward to transition into the halftone grid. 6. Draw the halftone as a dot grid whose sizes react to the orange dot. Expand it beyond the frame before showing the end card. 7. Align the click, dot landing, graph peak, shape changes and final title with measured beats. Render one frame per beat to check timing before the full export. </build>
Make a dynamic 15-30 second motion graphics video that shows what an incredible motion designer you are, like it's your showreel for a résumé. go all out. It should be a launch video for https://t.co/VOMwpsnr3w. Extra context: App Store link and app screenshots.
Scan all the components from the given page, fetch the brand detailing including logo. Make me a high end teaser video for this specific feature.
The card should scale in from 30% to 100% scale and transition from invisible to visible. Every detail should slide in orderly, one after the other, once the card settles at its final scale. The graph line should animate in like a line path. The glow at the back should become visible as the card details slide in. The two rectangles should move across the screen at slightly different timings to create a light effect.
Create a surprise party scene for Leo, the lanars_inc mascot, celebrating a 10th birthday. Use zero external assets. Model the room, lions, cake, camera moves, and all sounds directly in code within a single three.js file. Ensure everything is generated programmatically without drawing or recording.
<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 PR video for Asbel. Please create a dynamic 1-minute motion graphics video that demonstrates how wonderful a motion designer you are. Do your best. Reference X: (Your X URL) Reference YouTube: (Your Channel URL)
Make a 20-second 16:9 motion graphics video that tells a little story with sound. For the first 12 seconds there is no sound at all: on a warm paper background, the words "make it catchy." type themselves out, then the letters fall apart and build a colorful music machine piece by piece: ramps, spinning gears, a row of blocks like piano keys and a big drum. It ends with a ball waiting at the top. At 12 seconds the ball drops and the machine comes alive. Every block it hits plays a note, the drum kicks, the gears tick in rhythm, and it all becomes a catchy 4-second beat. Then everything snaps into the words "ONE PROMPT" on a final hit, followed by silence. Use bold geometric shapes in ink black, cobalt blue and sunflower yellow, and make every sound match a movement you can see. Go all out and render the final MP4.
a 3D logo intro studio in ONE single HTML file with three.js. 3 example logos or paste your SVG; pieces fly in, assemble, rotate, a flash passes, and the name appears letter by letter. Chrome, gold, glass, clay, or neon.
Scan all the components from the given page, fetch the brand detailing including logo. Make me a high end teaser video for this specific feature.
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
Create a dynamic 20-second commercial in motion graphics that conveys the charm of Takuma Fukuda's YouTube channel at EXTAGE Inc. (https://t.co/JkBvRrREDZ). Research the channel and company, using only official facts and materials. Do your best to make it look like work from a top-tier production company.
Create a dynamic 15-second motion graphics video using this image to demonstrate how amazing you are as a motion designer. Make it look like a showreel for a resume, and give it your all.
<direction> Build a 30-second looping motion design showreel that introduces CLAUDE, a motion designer. Concept, in one line: one pencil line gets promoted three times (graphite on paper, wire on a blueprint, light on black) and never leaves the screen. Every shot is made out of the previous one: shapes, type and colour transform into the next scene. No cuts, no fades. Typeface: Geist only. Weight 900 for big words, 600 to 800 for small labels (24 to 28 px, tracked 0.14 to 0.3 em). Palette: paper cream #EDE6D5, blueprint blue #1B3ED2, hologram cyan #45F0DD, plus black #07080A, graphite #16161A and white. Each stage's accent is the next stage's colour: blue pencil on paper, cyan on the blueprint, white on the hologram. Camera: locked and front-on for the whole film, like a drafting table. Objects turn; the camera never moves. Empty border: nothing at rest within 150 px of the sides or 90 px of the top and bottom. Things travelling through may cross it. Three inks. The same geometry is drawn in whichever ink is on screen: - PAPER: a cream paper background (use my paper image if I give one, otherwise flat cream with fine drawn grain) with a 60 px blue grid at about 13% and every fifth line at 26%. Lines are pencil: resampled and pushed off true by slow sine waves whose phase changes 8 times a second, stroked twice (full width at 90%, half width at 40% with more wobble), with paper tooth knocked out of the strokes, then multiplied onto the paper. Fills are diagonal hatching drawn on one line at a time. Big type is hatching cut to the letter shapes, with a doubled outline. - BLUEPRINT: flat blue with the same grid in white. Clean white lines 3 to 4 px, hidden edges dashed and thinner, fills are fine clean hatching. - HOLOGRAM: black with the same grid in cyan. Cyan lines with a white core 30% of the line width. Fills are horizontal scan lines on an 8 px pitch whose thickness follows how lit the surface is. No blur halo anywhere: it reads as light through line density only. Banned: particle bursts, glows, lens flares, camera shake, RGB split, crossfades, generic gradients, bouncy easing, holds longer than half a second, anything that looks like a template. </direction> <structure> 120 BPM, 60 beats, 15 bars of 2 seconds. Something happens on every beat. Moves start 0.05 s before their beat so they land on it. Easing: a critically damped spring, 1 - (1 + w t) e^(-w t) with w between 12 and 40, so nothing ever passes its target; exponential ease-in and ease-out for wipes, presses and exits. Scene changes: paper to blueprint by a shape that floods the frame with a hard edge; blueprint to hologram and hologram to paper by one horizontal scan line. The last frame is the first frame, so it loops. Two corner labels stay on all film: top left "FIG. 07 — GEAR" (bar number and name), bottom right "BEAT 27 / 60". Bar names: DRAFT, TYPE, CURVE, MORPH, TILE, SOLID, GEAR, PANEL, DATA, LIGHT, WAVE, GLOBE, DRUM, FORM, END. </structure> <mascot> The creative director: a small box character. Body 76 x 54 units with rounded corners, two short arm stubs (24 x 16) at mid height, four straight legs (11 x 33), two tall rounded-rectangle eyes (8 x 14). Draw it about 250 px wide. Its right arm is raised 58 degrees holding a pencil. On paper: graphite outline with sparse blue hatching and graphite eyes. In the hologram: cyan outline with scan-line fill and white eyes. It is never a fourth colour. It runs with alternate leg pairs lifting, six steps a second, leaning 7 degrees into the run. </mascot> <storyboard> Bar 1, HOOK, 0-2 s, paper. Frame 0: CLAUDE in Geist 900, fitted to 1500 px wide, centred, pencil-hatched. INTRODUCING small above it, A MOTION DESIGNER small below. A pencil rail 1620 px wide sits 96 px above the letters. The mascot stands on the rail at x = 1560 with CREATIVE DIRECTOR lettered to its left. 0.0: the small lines un-type; the mascot runs off the right edge, accelerating. 0.36 to 0.5: the rail drops, accelerating, to 26 px below the baseline and presses the letters flat into itself. 1.0: the line rises to the middle, shortens to 1320 px and splits into two rails 140 px apart; 41 blue ruler ticks sweep along the top rail. 1.5: the rails open to 300 px; a blue height dimension draws at the right with a live number. Bar 2, KINETIC TYPE, 2-4 s, paper. Words sit between the rails and are clipped to that slot; the rails move to fit each word. 2.0: INTRODUCING rises through the baseline letter by letter, then lifts out through the top. 2.5: A MOTION whips in from the left (1400 px in 0.2 s). 3.0: the rails clap shut on it and reopen, stretching DESIGNER out of the line; its letters then fly out sideways. 3.5: CLAUDE in blue pencil, letters dropping from above one every 0.05 s. At 4.0 the rails close and crush it into one line 1476 px long. Bar 3, CURVES, 4-6 s, paper. 4.1: the line gets pen-tool handles (430 px long at 58 degrees, small squares at the ends, circles on the handle tips, the label EASE) and bends into an S. 4.5: the handles swing to the mirror angle; eight blue copies fan out 34 px apart, joined at both ends like a leaf. 5.0: handles retract; the ribbon becomes travelling sine waves (amplitude 92 px, 2.75 cycles, each line a little out of phase). 5.5: it gathers back into one flat line. Bar 4, SHAPE MORPH, 6-8 s, paper. 6.1: the line curls into a circle of radius 235 (curvature grows, length stays). 6.5: triangle, turning 120 degrees as it changes. 7.0: square. 7.5: hexagon, point up, radius 270. Blue hatching builds inside, then cross-hatching. Bar 5, TILING, 8-10 s, paper. 8.0: the hexagon shrinks to radius 96 and six more slide out around it. 8.5: twelve more, a honeycomb of 19. 9.0: dense hatching sweeps across until every cell is solid blue. 9.6 to 10.0: the centre cell's shape grows past the frame with a hard edge; inside it is the blueprint, with the honeycomb in white line. Bar 6, 2D TO 3D, 10-12 s, blueprint. 10.0: three lines draw inside every hexagon, plus three dashed hidden ones: each is a cube seen corner-on. 10.5: the eighteen outer cubes slide into the centre one, which grows to radius 270. 11.0: it turns a quarter and perspective switches on. 11.5: it faces front. Bar 7, MECHANISM, 12-14 s, blueprint. 12.0: the cube flattens and its front square grows teeth: a 16-tooth gear, pitch radius 208. From 12.25 the train steps 45 degrees on every eighth note. 12.5: a 10-tooth gear grows out to the upper right, meshing. 13.0: a 12-tooth gear to the upper left. Each has a dashed pitch circle, a hub and a label (16T, 10T, 12T). 13.5: the small gears retract; the gear becomes a square again and the cube gets its depth back. Bar 8, UNFOLD, 14-16 s, blueprint. 14.0: the cube unfolds on its hinges into a cross of six squares. 14.5: the squares slide and stretch into six panels: a header strip, a tall sidebar, a wide chart, two tiles, a timeline strip. 15.0: they fill in. Header: "CLAUDE — MOTION REEL", a BARS / RING switch, a LIGHT toggle. Chart: 30 bars, one per second of this film, heights 42 30 36 44 50 46 52 62 50 56 62 72 60 66 58 76 56 62 68 74 70 78 86 94 100 93 97 90 80 50. Timeline: the 15 bar names, a keyframe diamond on each. 15.5: counters roll up: 120 BPM, 60 BEATS, 1800 FRAMES, 0 CUTS. Bar 9, DATA, 16-18 s, blueprint. 16.0: a graph line draws across the bar tops; a cyan playhead lands on the timeline at the real time. The current second's bar is solid cyan, earlier ones hatched, later ones outlined. A cursor arrives. 16.5: it clicks RING: the chart's baseline bends round into a circle of radius 110 with the ba
Make a dynamic 15-30 second motion graphics video that shows what an incredible motion designer you are, like it's your showreel for a résumé. go all out. It should be a launch video for https://t.co/VOMwpsnr3w. Extra context: App Store link and app screenshots.
The card should scale in from 30% to 100% scale and transition from invisible to visible. Every detail should slide in orderly, one after the other, once the card settles at its final scale. The graph line should animate in like a line path. The glow at the back should become visible as the card details slide in. The two rectangles should move across the screen at slightly different timings to create a light effect.
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.
Please create a high-impact video of about 30 seconds. Use rich production techniques that maximize the strengths of Opus 5.5. The content of the video should demonstrate what can be achieved with Opus 5.5.
Generate a 15-second brand promotional animation: Theme "Anthropic", with automatic storyboarding, motion effects, and transitions. You can find your own assets; showcase your capability limits as much as possible. I want an advertising promo film with sufficient artistic sense and premium feel.
<inputs> Ask me for: a short label for the first toggle, one main word, a percentage for the graph, text for the final card, one accent color and a track with a clear beat. </inputs> <direction> A 2D motion design film in 16:9. Use a warm off-white canvas, near-black backgrounds, bold type and one vivid orange accent. The orange dot links every scene: it begins in the UI, becomes the dot above a letter, draws a spring graph, expands into a shape and reappears on the end card. A cursor makes the opening click feel real. Keep the movement crisp and controlled, with subtle spring overshoots and no empty pauses. Banned: stock footage, gradients, glows, particle bursts, arbitrary transitions and movement that doesn't grow from something already on screen. </direction> <structure> Around 15 seconds, with a visual change on every major beat. Open: a cursor clicks the orange toggle beside "Reduce Motion". The letters bend and shift into place until only "Motion" remains, with the orange dot above the "i". Spring: the dot leaps away from the word and lands on a graph. Its trajectory draws a spring response, passes the target and settles next to a "+22%" callout. Shape: the dot races along a line, expands into an orange circle and fills the frame. A black rounded square rotates inside it, then extends into a pill. Everything contracts into one orange dot on black. Type: words including "SPRINGS", "EASING", "KINETIC TYPE", "3D" and "SOUND" circle the dot. The ring of words spreads into a field of tiny dots. Reveal: the halftone field expands and turns black, uncovering the final card: "Opus 5.5", "Motion designer." and "0 keyframes". Return: the orange dot travels back through the halftone, graph and toggle. Make the last frame match the first for a seamless loop. </structure> <build> 1. Use one HTML file, 1920x1080 at 60fps. Calculate every visual from time inside seek(t): no CSS transitions, timers or state carried between frames. 2. Use closed-form springs for the toggle, moving dot and graph. Draw the graph with the same spring function that controls the dot. 3. Move the letters individually as "Reduce Motion" becomes "Motion". Keep the orange dot above the "i" until it jumps away. 4. Treat the orange circle, rotating square and pill as states of one shape. Carry its position and momentum through each change. 5. Arrange the words on a circular path, then send their letters outward to transition into the halftone grid. 6. Draw the halftone as a dot grid whose sizes react to the orange dot. Expand it beyond the frame before showing the end card. 7. Align the click, dot landing, graph peak, shape changes and final title with measured beats. Render one frame per beat to check timing before the full export. </build>
Opus 5.5: a hand-drawn story. a little agent wakes up at its desk, gets feedback notes, fixes them, ends on heart eyes and a green check. 53 s Sonnet 5.5: a kinetic type showreel. six easing curves, a morphing star, particles, blurred type, "every frame written in code". 15 s Haiku 5.5: a step-by-step White Russian recipe. ice, vodka, coffee liqueur, cream, with live counters and a checklist. 30 s
Knowing everything you know about our product, make a dynamic 15-second motion graphics video that shows what an incredible motion designer you are, like it's your showreel for a resume. Go all out. Insane SFX, insane story, insane motion and transitions and effects. Extract each frame, listen to it and understand them fully.