2D Animation

Create a 20-second animation explaining why profits decreased even though sales increased. First show the increase in sales, then the increase in expenses, and finally the decrease in profit.

STYLE: Animated classical Persian miniature painting, flat layered perspective, intricate floral and geometric patterns, gold leaf sky with swirling stylized clouds, ornate border, delicate graceful motion. Color grade: lapis blue, turquoise, rose, saffron, gold. A colossal Simurgh with a peacock-like body, jeweled wings and a long sweeping tail of patterned feathers. A palace garden with turquoise domes, cypress trees and reflecting pools, courtiers, musicians and a prince on a white horse. SHOT 1 (0 to 3s): Wide shot matching the reference image, the Simurgh spreads its wings across the gold sky, its tail feathers unfurling one by one in shimmering patterns. SHOT 2 (3 to 6s): Medium shot, 35mm lens, musicians in the courtyard stop playing, a courtier drops a pomegranate that rolls across the tiles, the prince's horse rears. SHOT 3 (6 to 9s): Close-up, 85mm lens, the Simurgh's crowned head bows low, its eye glinting like a sapphire, gold patterns rippling across its feathers. SHOT 4 (9 to 12s): Low angle wide shot, 20mm lens, the Simurgh lands in the garden, its wings sweeping over the reflecting pools, petals and leaves of the cypress trees lifting in a spiral. SHOT 5 (12 to 15s): Extreme wide shot, 16mm lens, the prince rides forward and bows, the Simurgh lowers one wing like a staircase, and the swirling gold clouds open into a path across the sky. Fountain water, birdsong, an oud and tar melody that stops suddenly, a vast silken wingbeat, a deep melodic bird call, daf drums and santur building into a triumphant theme.

I. Basic Video Specifications Video Duration: 30 seconds, generated continuously in one go. Aspect Ratio: 16:9 landscape, 1920x1080, 60fps. Video Type: Original military-themed stylized combat animation, cinematic high-intensity action short film. Visual Style: Dark military comics, expressionist war animation, rough silkscreen printing, dynamic ink splashes, halftone grain, 2.5D layered motion, fusion of realistic military action and abstract visual effects. Image Quality: High detail, high contrast, strong outlines, cinematic lighting, clearly discernible combat actions. No subtitles, no narration, no watermarks, no brand logos throughout the video. II. Reference Images and Visual Consistency Strictly use the two uploaded images as references for characters and art style. Character Design: A combat squad consisting of 5 adult Marine Special Operations personnel; the protagonist adopts the soldier image from the first reference photo. All members wear dark olive green combat uniforms, heavy tactical ballistic vests, modular magazine pouches, combat gloves, tactical knee pads, heavy combat boots, and tactical helmets with night vision mounts, goggles, and tactical communication devices. Carry modern modular carbines consistent with the shape in the reference images, retaining rail systems, aiming devices, magazines, stocks, and accessory outlines. All equipment is unified in deep black and dark olive green, with details featuring fluorescent green edge reflections and magenta outline highlights. Soldiers' faces are mostly hidden in helmet shadows, with cold expressions full of oppressive force. Overall character proportions are realistic, human anatomy is accurate, and equipment has a thick material feel and weight. Absolutely Unified Color System: Main Background: High-saturation mint green, grey-green, fluorescent cyan-green. Character Subject: Extremely deep ink green, olive black, pure black. Visual Emphasis: High-saturation fluorescent magenta, rose red, small amounts of bright pink. Highlights: Low-saturation cyan-green reflections. Shadows: Near pure black, but retaining structural layers of equipment. Prohibit large areas of orange-yellow explosion fire, blue-purple neon lights, warm sunset colors, or traditional grey-brown battlefield palettes. Animation Material: Characters have a heavy hand-drawn military concept illustration texture. Combat uniforms, helmets, weapons, and bulletproof vests use rough brushstrokes, black ink blocks, misaligned silkscreen textures, and high-contrast shadow representation. Character outlines have fluorescent magenta ink overflow effects. Every rapid movement is accompanied by tiny magenta particles, dust, ink streaks, and broken paint granules. Background consists of large areas of green color blocks, black negative space, abstract smoke/dust, and ruin silhouettes. The overall visual maintains the intense, rough, dangerous, and experimental flat art characteristics of the reference images. III. 30-Second Cinematic Second-by-Second Storyboard Shot 01 | 00:00 to 00:04 | Ghost Appears A few fluorescent green particles appear on a pure black screen. A violent magenta ink stroke sweeps across from the right side of the screen, instantly revealing a fully armed Marine Special Ops soldier. The soldier faces the camera directly, slowly stepping forward, holding the gun low. Camera uses a 28mm wide-angle lens, slightly looking up from waist height, quickly pushing into a medium close-up. Helmet covers eyebrows and eyes, face hidden in black shadows. An extremely strong magenta rim light appears on the right side of the character. Background is the same pure mint green as the reference image, scattered with a few vintage print grains. As footsteps land, black ink rapidly spreads outward from underfoot. The opening must have strong visual impact. Shot 02 | 00:04 to 00:08 | Black Squad Quick cut to an extremely low angle side tracking shot. Five Marine Special Ops soldiers advance rapidly along a dilapidated passage in an abandoned industrial zone. The protagonist is at the front of the squad, other members pass through the frame in staggered formation front-to-back. Action references the running posture of the soldier in the second image. Soldiers' backpacks, communication antennas, tactical vests, and weapons vibrate naturally with running. Camera maintains parallel high-speed tracking with soldiers, creating strong motion parallax. Ground is rough, broken black concrete. Each time a foot lands, magenta dust and black liquid ink splash up from the ground. Background transitions gradually from bright mint green to large areas of pure black negative space. Frame has obvious comic-style speed lines. Shot 03 | 00:08 to 00:13 | Firepower Encounter Squad suddenly encounters attack from ruins ahead. Urgent magenta muzzle flashes appear at edges of black building silhouettes. Large amount of abstract pink tracer rounds quickly sweep across the frame. Protagonist quickly dodges sideways, teammates scatter behind abandoned concrete cover. Series of impacts hit walls and ground, kicking up black debris, green dust, and fluorescent magenta ink splatters. Camera pans quickly, whip-pans, follows protagonist crouching. Insert a 0.5-second extreme close-up showing protagonist's helmet edge, goggles, tactical vest texture, and gun details. Muzzle flashes represented by magenta and white-green abstract color blocks. Impact moments use brief comic-style frame skipping and local freeze frames. No bloody wounds appear. Shot 04 | 00:13 to 00:19 | Cross Cover Enter the most intense action climax of the entire film. Protagonist leaps quickly from cover, other four teammates provide cross-cover at different depth positions. Side wide-angle shot shows five soldiers moving at high speed through abandoned industrial corridor. Camera performs one continuous low-position lateral move, then quickly wraps around behind protagonist's shoulder. Protagonist raises gun pointing at black enemy silhouette ahead, short magenta muzzle flash illuminates helmet and gloves. Giant black ink explosions constantly appear on the ground. Large amount of magenta particles rush from background to foreground. Abandoned steel frames and broken walls fly past quickly as black geometric blocks. All soldiers maintain realistic body center of gravity and equipment inertia. Movement rhythm is tense, clean, and fierce. Use small amounts of 0.2s to 0.4s speed ramps to emphasize sprinting, sudden stops, turns, and covering actions. Shot 05 | 00:19 to 00:25 | Extreme Breakthrough Camera tightens behind protagonist's right shoulder, using 35mm lens for high-speed over-the-shoulder tracking. Protagonist leads squad out of narrow passage into open abandoned container area. Background suddenly changes to bright mint green large color blocks. Foreground shows tilted black steel frame silhouettes and huge broken containers. Soldiers move quickly through dark areas. A giant magenta shockwave spreads violently from deep within the frame in abstract ink splash form. Black fragments and pink ink particles float briefly in slow motion. Protagonist leaps over low obstacles, continues advancing after landing. Camera chases protagonist with high-speed dolly track, surrounding scenery stretched into black-green interlaced abstract speed lines. Finally enter ending via a violent black ink wipe transition. Shot 06 | 00:25 to 00:30 | Ghost Freeze Frame Motion suddenly decelerates. Protagonist walks slowly out of black smoke/dust, facing camera directly. Other four Marine Special Ops soldiers gradually appear in spaces at different depths behind him. Protagonist maintains low gun-holding posture, takes final step slowly. Camera looks up slowly from knee height, using 35mm cinema lens. Frame restores classic visual composition of first reference image. Central figure is deep black and dark olive green. Background is pure, high-saturation mint green. Vivid magenta rim light appears on right side of shoulders, helmet, and gun. Clothing and equipment show rough ink textures. Small amount of black ink and fluorescent pink fragments float slowly around figures. Last 1 second all figures enter static hero composition with sense of power. Frame cuts suddenly to pure black, leaving very short low-frequency sound tail. IV. Cinematography and Animation Motion Entire film primarily uses 28mm and 35mm cinematic wide-angle lenses. Heavy use of low-angle shots, side high-speed tracking, over-the-shoulder tracking, extreme close-ups of equipment, quick whip-pans, and violent push-ins. Camera movements must be coherent, weighted, keeping subject clearly identifiable. Use 2.5D layered animation to construct depth between characters and background. Characters adopt motion laws with realistic motion capture feel, while presenting 24fps hand-drawn animation style action rhythm. Output 60fps, allow stylized frame skipping and instant freezes during key impact scenes. Ink splashes, dust diffusion, and particle trails have independent animation layers. Visual effects precisely synchronized with soldier body actions. Retain strong print textures, halftone dots, fine scratches, ink offset, and dynamic film grain. V. Sound Design Music Style: Dark industrial electronic, military rhythm, cinematic low-frequency impact. Tempo: Around 140 BPM. 00:00 to 00:04: Heavy low-frequency pulses, combat boot footsteps, metal equipment collisions. 00:04 to 00:08: Industrial drums gradually accelerate, adding...

"Man is a rope, tied between beast and Overman—a rope over an abyss." — Nietzsche, Thus Spoke Zarathustra Based on this insight, create an explanatory video with incredible 2D animation, lasting 2-3 minutes. It must have coherent narration, dialogue, and sound. Shock me (truly demonstrate capabilities people didn't think were possible). Use up to 5 Agents. Use Edge TTS voice Yunjian (deep male voice).

"Create a dot art video of [theme], landscape 16:9 aspect ratio, 15 seconds long" Attached character sheets were used as reference. Replace [theme] with your desired topic.

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.

Create a hand-drawn style animation. Specifically, generate a dynamic watercolor picture book or an ancient Chinese ink wash long scroll painting (like Along the River During the Qingming Festival). Focus on the artistic style and smooth animation transitions.

Recreate a crayon drawing of a rocket inspired by @seti_park's sketchbook. Use Three.js to animate it inflating into a toy, bursting through the paper border, and diving back into the page. Maintain the hand-drawn aesthetic while implementing smooth 3D transitions.

<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

Rules: - Theater anime quality with a budget of 500 million yen scale, Neo-Retro flat Japanese 2D anime. Vivid cyan-blue outlines, gentle pastel colors - One shot (no cuts). Camera is fixed and does not move until the end. Do not use fisheye lens - High number of drawing frames. Fast tempo, comical - No BGM, sound effects present - No subtitles, no text on screen {{img 1}}: Subject - Maka {{img 2}}: Subject - Roni [Consistency] Do not change Maka-chan's face, pink skin, short pink bob, large cream-colored round ear-like head accessories on both sides, large blue eyes, white round earrings, red choker, yellow puff-sleeve top, red belt, and white skirt throughout the video. Do not change Roni-kun's face, pink skin, curly pink hair, large cream-colored round ear-like head accessories on both sides, blue eyes, mint green blazer, purple and yellow checkered shirt, and white pants. Only Maka-chan and Roni-kun appear. Take out one item at a time. Do not duplicate items or Roni-kun. [FRAME-BREAK] MAIN VISUAL GOAL: An unmistakable OUT-OF-FRAME, POP-OUT effect. Maka repeatedly reaches beyond the central picture window. Her hands, forearms and every object she pulls out visibly move OVER the black letterbox bars, toward and past the viewer. COMPOSITING ORDER, BACK TO FRONT: 1. Background and scene. 2. Two broad black letterbox bars at the top and bottom. 3. The foreground characters: Maka (her hands, arms, pink hair, cream ear-like head accessories and every object she holds) and, at the end, Roni as she pulls him out. The background is confined to the central picture window. The foreground character is NOT confined to that window. Her silhouette continues uninterrupted across its boundaries and onto the black bars. Her pink skin, pink hair, cream accessories, yellow sleeves and each object remain fully visible when overlapping black. STATIC BARS, MOVING CHARACTER: Both bars are completely static screen graphics, not objects in the scene. Keep their equal thickness, full width and exact screen position unchanged throughout. Their inner boundaries remain perfectly straight and horizontal. The character simply renders in front of them. Her movement temporarily hides portions of their black surface. The underlying bars never move or deform. Visible edge segments on either side of an overlap remain aligned on the same horizontal line. When she withdraws an arm, reveal the original unchanged black bar beneath it. Keep black visible beside the overlapping arms and objects. No bending, sliding, shaking, stretching, opening or impact reactions in the bars. The camera stays stationary. One continuous shot. She stays close and large in the composition, leaning toward the viewer. Never retreat deep into the background. The frame-break effect must come from the character visibly covering black areas outside the central picture window. Do not keep her entirely behind the bars. Do not simulate the effect by moving the bars or enlarging the window. [Meaning] Beyond the black margin below (outside the bottom of the screen) is this side = the viewer's room. Maka leans out from the edge of the screen, puts her hand in towards this side, and looks for something. [Generation Goal] Maka rummages around this side of the screen, throws various items back one after another, and finally pulls out Roni-kun who was hiding on this side. (6 stages, one continuous shot without breaks. The stage remains the same) Location: A sparse room with only plain light cream walls and light mint floor. No furniture, windows, shelves, or long horizontal objects. Light is soft and uniform, shadows are thin. Items thrown back by Maka fall on this floor and accumulate gradually. Maka is right in front of the camera, head to chest filling the height of the window largely. She does not retreat into the background. [S1] From the start, Maka's face is large within the window. She leans forward strongly, peering at us with big blue eyes. With one hand, she places fingertips on the black upper margin as if gripping the edge (peering while gripping the edge). Tilting her head, "something..."

Make a 32-second video, 1920x1080, 30fps, about one idea: AI is built on human brilliance. Every model learned from people who knew things. LOOK: a printed street-poster collage, in motion. No photos and no stock images: draw everything yourself with SVG and CSS. - Warm off-white paper (#F2EFE8) with a fine dotted halftone texture over the whole frame, and a very slow paper drift so the frame is never frozen. - Black ink line art in an old engraving style (hatching lines, not flat fills): a human eye, a pair of hands, a flower, and a neuron with branching dendrites. Lines draw themselves on (stroke-dashoffset), then a halftone dot fill fades in under them, like a printed collage layer. - Flat lavender paper blocks (#A79BF0 and a deeper #6E5FD8) that slide in behind the art with slightly rough edges, offset like torn paper. - One real formula set in a serif math face that writes itself on, symbol by symbol: the sum from n=1 to infinity of 1/n^2 = pi^2/6. - Headlines in one heavy geometric sans (bold, tight tracking), black text on white bars, big and poster-like. Every line fully inside the frame with generous margins. STORY, three beats, use these lines exactly: Beat 1, THE SPARK (0-10s): the eye draws itself in at the center, lavender blocks slide behind it. Text: "Before the machine, a mind." then "Someone noticed. Someone asked why." Beat 2, THE WORK (10-22s): three collage cards cut in on the beat, each with its art and one line: "A proof at midnight." (the formula writes itself), "A hand that heals." (the hands), "An ear for the right word." (the flower opens). Then: "Every answer it gives, people taught it first." Beat 3, THE CLAIM (22-32s): the neuron grows its branches outward across the frame, connecting the eye, hands, formula and flower into one poster layout. Text: "Human brilliance is the input." then "Everything else is compute." Hold the final poster with a slow push-in until the last frame. SOUND: if the app has a music library, add one calm, minimal piano or ambient track under the whole video, fading out at the end; add a soft paper-slide sound when blocks move in, if sound effects are available. Motion must start on frame 0 and keep going to the very last frame. No logos, no brand names.

<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>

<inputs> Ask me for: a target value for the slider, three short notification messages, a reply to type, one accent color and a royalty-free track around 120 BPM. If I skip anything, use 100, "Slider - Reached 100", "Gravity - Something is falling", "Messages - What now?", "retry" and electric blue. </inputs> <direction> A 10-second 2D UI motion film in 16:9. Place everything on a near-black canvas with a faint dot grid. Use charcoal controls, sharp white text, one blue accent and a white ball that moves through the entire film. A real cursor makes the opening click feel physical; the ball guides each transition that follows. Keep the UI clean and the impacts precise, with only small spring overshoots. Move the camera through one continuous layout so every interaction fills the frame. Banned: hard cuts, stock footage, glows, particle bursts, disconnected transitions, excessive bouncing and blurry text during camera moves. </direction> <structure> Around 10 seconds, with something happening on every major beat. Toggle: the cursor clicks a blue switch. Its white ball springs free, and the camera follows it toward a horizontal slider. Slider: the ball lands on the knob and moves it along the track. The blue fill stays attached, while a value bubble above the knob climbs to 100. Notifications: hitting 100 sends the ball onward and brings in three dark cards: "Slider", "Gravity" and "Messages". Each arrives on its own beat. The camera follows the ball down to "What now?". Reply: the small "Reply" pill stretches into a text field. A keyboard rises below it as part of the same scene. Keyboard: the ball strikes the keys while "retry" appears in the field. It lands on Return, the blue send button activates and the reply contracts into a small blue message. Return: the camera pulls back to show the toggle, slider, cards and keyboard together in one world. The ball travels back to the first switch. Match its position, the cursor and the switch state to the opening frame so the film loops cleanly. </structure> <build> 1. Make one HTML file at 1920x1080 and 60fps. Calculate every visual from time inside seek(t): no CSS transitions, timers or state carried between frames. 2. Arrange all UI components in one world. Use a single camera transform with position and log-space zoom, making each close-up a move through that world. 3. Give the white ball one continuous route between the toggle, slider, cards and keys. Use closed-form springs for landings and a brief squash on impact. 4. Calculate the slider fill and number from the ball's horizontal position. Keep the tooltip centered over the knob until it reaches 100. 5. Give every key press a fixed time. Show the reply as the portion typed by that moment, so any frame can be rendered deterministically. </build>

Make a 3 to 4 minute animated explainer, 16:9, about natural gas extraction for general public, in a flat illustration style, with narration and captions that match it: 1. Open on something the audience sees every day, then go back to the beginning. 2. Follow the clearest line: steps for a process, otherwise a timeline, cause and effect, or problem to solution. 3. One chapter per step, 8 to 12 chapters, titles in the top-left corner. Keep one visual style and palette throughout. 4. Pick one number that runs through the whole video (temperature, pressure, speed, cost or time), keep it in a corner, and update it at every step. If no number fits, show "step X of Y". 5. Give every key number an everyday comparison, and leave out any number you're not sure of. 6. End with one line that ties the whole journey together. Before you start, send me the chapter list, the number you picked and the key facts you'll use, so I can confirm.

A lone pixel-art bounty hunter rides a skeletal motorcycle across a toxic desert while giant sand worms burst from beneath the highway, she swerves through collapsing asphalt, jumps over a burning tanker, fires an energy harpoon into the largest creature and lets it drag her across the dunes before using the chain to slingshot herself onto its head; cinematic high-detail pixel art, rich 32-bit aesthetic, multilayer parallax desert, fluid sprite animation, dramatic sprite scaling, heavy screen shake, heat distortion made from pixel dithering, orange sunset, toxic green storms, cyan weapon trails and flying debris, brutal retro-futuristic atmosphere, ending with the hunter planting a charge between the worm’s armored plates and jumping back onto the motorcycle as the creature erupts into a gigantic pixel explosion behind her.

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

Create an interactive HTML presentation explaining the concept of 'Network Effects' where connections grow exponentially as user count increases (e.g., 5x users = 27x connections). The interface should include a slider allowing the viewer to manually adjust the number of users and see the resulting change in connection density in real-time. Use only HTML and JavaScript without external image assets. Include voice narration synchronized with the visual changes.

Using Remotion which I downloaded, can you make me a launch video for the app? Use the repository for information. I need a SaaS-styled 15-30 second launch video, featuring zooms, cursor movements, typing effects, interactions with the app, showcases, and different angles of the application, etc. Basically a complete...