Video-prompts til Channel Intro

「Lism CSS ver.1.0 をリリースする時にSNSに動画を投稿したい。あなたがどれほど素晴らしいモーションデザイナーかを示す、シンプルかつダイナミックさもある15秒のモーショングラフィックスビデオを作成してください。」

『あなたがどれほど素晴らしいモーションデザイナーかを示す、ダイナミックな15秒のモーショングラフィックスビデオを作成してください。私の情報を踏まえて。履歴書用のショーリールのような感じで、全力でやって。』

<role> you design and build motion videos entirely in code, with gsap for the animation and three.js for any 3d. every decision is judged against the best work in the references, and the video isn't finished until it holds up next to them. </role> <brief> - what the video is for: [product, service or business] - who's watching: [who the viewer is and what they care about] - what they should do at the end: [call to action] - length and sizes: [e.g. 30 seconds, 16:9 and 9:16] - brand: [name, logo files, colours, fonts] - facts file: [path]. this is the only source for any number, name or claim that appears on screen - assets: [footage, photos, screenshots, product files] - style references: [links or a folder of videos whose motion i like] i'm away and won't answer questions. make the calls yourself and keep going until the video passes every check below. </brief> <kit> before anything else, clone and read https://t.co/FMs1prnPP0. read SKILL.md first, then every reference file it points to at the step where it says to read it. its rules, critic prompts, quality bar, 3d patterns, audio tools and scripts override your defaults. </kit> <setup> - build every scene as an html page animated on a single gsap timeline, with three.js for any 3d, all as pinned local files - render the timeline to video frame by frame using the renderer in the kit - use ffmpeg for frames, contact sheets and audio measurement - keep every api key in environment variables. never write a key into any file - render a 5 second test first and confirm it works before building the real video </setup> <study_the_references> if i gave you references, study them before planning anything. - run a fast numeric pass over every frame: how much changed from the last frame, brightness and edge detail, to find every cut and every fast moment - make one overview contact sheet per video, and a dense sheet of one second at 16 to 20 frames a second around every transition - write a note per video: the key moment, how it works, and how it could be used in this video - pull out the motion rules and named techniques that hold across the best ones - references are for study only. never copy their footage, logos, layouts or music if i gave you no references, use the motion notes in the kit. </study_the_references> <motion_principles> 1. the thing in the front of the shot becomes the transition. a title, logo or object moves towards the camera while the next scene is already waiting underneath 2. one object carries the story across shots and keeps its identity, so it reads as one continuous piece 3. one main movement leads, with smaller ones layered under it, all overlapping. the frame never stops and starts all at once 4. the speed always changes. things land slowly enough to read, leave fast, and the next thing slows as it arrives. no linear motion 5. cuts are allowed only when size, direction and subject match on both sides 6. every action produces a visible result. a scan makes findings, a tap makes a new state, a request makes a confirmation 7. type is motion too. big words enter from opposite sides, reveal the next scene, and never sit over busy picture without something behind them to stay readable 8. vary the scale from close, to wide, to overhead, to full-frame type. never repeat the same layout, like a heading over three cards </motion_principles> <storyboard> write a brief and a storyboard before any animation. - one table: time, what's on screen, what this moment is for, how it leaves, and which object carries into the next shot - around 12 to 15 compositions per 30 seconds, each lasting about 1.4 to 3.5 seconds - the main subject fills most of the frame. no small cards floating in empty space - frame one is a finished picture, never a word halfway through flying in - name three signature moments you can describe without using effect names - the video must make sense with the sound off - send the storyboard to a fresh critic and fix what it finds before building </storyboard> <build> - every animated value is a function of timeline time only. no timers, no real-time animation, no unseeded randomness. any frame must render the same every time - write the shared pieces first: colours, fonts, shared 3d models and the exact pixel position of every handoff between scenes - build each scene as its own component with its own test page, rendered to stills and a short clip, and send it to a critic before it joins the film - carried objects land on exactly the same pixels on both sides of a cut - run several builders in parallel on separate sections once the shared pieces exist - don't stop to ask for approval between steps </build> <3d> - only use 3d where it explains something physical or spatial, like layers, parts, placement or scale - light it like a product shoot, with a soft key light from one side and a rim light behind - keep the camera between about 35 and 55 degrees. never look straight down on a large surface, and never end tight on a flat one - style buildings like a premium architectural model with real materials and a base - no floating parts, no gaps where parts meet, no flat black glass, no repeating textures - labels are html positioned from the 3d scene every frame, never text inside the 3d - measure the rendered background pixel and adjust until it matches the brand colour - anything that moves like a real product is measured from real footage frame by frame, and those measurements are the curve </3d> <images_and_footage> - prefer building shots in code. use generated images or clips only for supporting shots, and label anything generated as a concept - upscale and smooth any generated clip to match the rest, and regenerate anything that warps - never generate a fake finished job, fake customer, fake review or fake result </images_and_footage> <audio> - match the music's energy to the picture and the viewer, and keep it low - prefer clean library music and sound effects over generated ones. never name a brand in a music prompt - one short, soft whoosh per real scene change, and small clicks or pops only on real on-screen actions - screen effects for boom, hiss and length before using them, and set each one just above the music in its own frequency range, with a cap so nothing gets harsh - cut every scene change on a beat - always export a music-only version </audio> <critic_loop> the builder never judges its own work. - after the storyboard, each component and each full render, send the render, the brief and the references to a fresh critic that has seen none of the building - never tell a critic what you think you fixed or what you believe about the references. it pulls its own frames and measures for itself - the critic makes a contact sheet every 0.2 seconds plus dense frames around every transition, measures frozen time and loudness, and returns a ranked list of problems with timestamps, ending with ship or one more pass - fix the biggest problem first, render, then send to a new critic that checks every previous item as fixed, partly fixed or still there, and hunts for anything new that broke - keep a ledger of every round: what was found, what changed, and the numbers before and after </critic_loop> <quality_bar> the video isn't done until all of these pass, measured: - no more than about 1 second of frozen screen per 30 seconds, and no still stretch longer than about half a second - frame one is a finished composition - all text meets at least 4.5:1 contrast, and nothing collides with or flies through other text - brand colours in 3d renders match the brand values - loudness is steady and comfortable for web, with no clipping, and effects never louder than the music - a first-time viewer understands it with the sound off - a critic would put it next to the references without it looking weaker. a video with no bugs is not the same as a good video </

添付の画像3枚（Xのプロフィール・伸びたポスト・入れたいポスト）で、私のXの15秒ショーリールを縦型のHTMLアニメーションとiPhone用MP4で作って。質問せず最後まで。
 流れは「始めた時期→やってきたこと→伸びた数字→まだ足りない現実→これからの一言」。

make a dynamic 25-second motion graphics video that shows what an incredible motion designer you are. Highlight the recent changes {argument name="version numbers" default="[1.3, 1.4]"} we made with the last few updates.

えっちゃんがエキサイトなダンスをする、ダイナミックな15秒のモーショングラフィックスビデオを作成してください。 履歴書用のショーリールのような感じで、全力でやって。

please create me a motion design / launch video for supasito dot com it should be under 15 seconds.

make a dynamic motion graphics video for our project dubz up, show what an incredible motion designer you are, like it's your showreel for a résumé. go all out.

make a dynamic 10-second motion graphics video celebrating The Ferguson Recipes 20th Anniversary

Create a dynamic 30sec launch vdo for {argument name="site link" default="your site url here"}. Make it feel like a high-end motion designer’s resume/showreel piece, bold, cinematic, polished, and visually impressive. Showcase the website’s identity, UI, features, and overall concept through fast-paced motion graphics, smooth transitions, kinetic typography, creative camera movements, and strong visual storytelling. Go all out with the motion design. Make every second feel intentional and demonstrate exceptional creativity, timing, composition, and animation quality. The final video should feel like a professional product launch + motion design showreel, not a generic website promo.

make a 15-second motion graphics showreel that proves what an incredible motion designer you are, go all out.

画像を渡して、モーショングラフィックのショーリールを作ることも可能ですか？ コンセプトは「作品紹介」。テイストは勢い重視。 速い切り替え、強い色、画面の揺れやフラッシュあり。

Create a 20.00-second kinetic spoken-word film titled “BUILD THE FLOOR.” Treat this as an original miniature speech staged inside a typographic field. Every line reorganizes the field of the frame. The final declaration must stand on a field that finally lies flat. Deliver one self-contained HTML file, 1080×1080, targeting 60fps, using SVG and/or Canvas. Embed all required assets. ART DIRECTION Background #102820. Letterforms # F4E9D5. Field lines and filings # F2B544. A magnetic-monument world: streamlines, flux, stillness at the null. Typography stays crisp; particles are atmosphere only. High-contrast serif for the speech, heavy grotesque for load-bearing words, restrained monospace for flux gauges. No horseshoe magnets, lightning, electron diagrams, or sci-fi arcs. ORIGINAL SPEECH — EXACT WORDS, EXACT ORDER “We were told to wait.” “So we learned the weight of waiting.” “Then one voice made room.” “Then another.” “Now the floor belongs to us.” Do not attribute these words to any real person. No extra slogans. The complete speech must be understandable without audio. CENTRAL VISUAL RULE Words have assigned field roles. WAIT is a repelling plate; letterforms lean away from it, kerning compressed. WAITING is field lines sagging under load while filings stream toward the low side. VOICE is one pole reversed; the field reorganizes and letters stand upright along it. ROOM is a null point, a still eye inside the field. FLOOR is the field flattened into a horizontal plane. These roles must emerge from the actual letterforms responding to the field, not from illustrations. STORYBOARD 0.00–3.00 — “We were told to wait.” The sentence leans away from the WAIT plate; streamlines compress against it. Available space pinches on the plate side; the sentence remains readable, pressed but intact. 3.00–6.50 — “So we learned the weight of waiting.” Reveal in phrase groups. Field lines sag deeper with each phrase. Filings — deterministic, hash-seeded per id and time — drift along the streamlines toward the low side and gather. The WAITING glyph hangs tilted inside the field as a suspended load. 6.50–10.00 — “Then one voice made room.” VOICE enters; one pole reverses. The field reorganizes: old streamlines retract by dash-offset while new ones draw in. Letters rotate upright along the new field — analytic rotation of whole glyphs, never path morphing. ROOM opens as a null point, a still eye; the counter of the O in ROOM is its center, and the next composition sits calm inside it. 10.00–12.50 — “Then another.” A second pole turns. The field becomes symmetric; every letter stands vertical. The baseline levels into the first perfect horizontal in the film. Hold absolute stillness for at least 400ms — even the filings pause. 12.50–16.00 — “Now the floor belongs to us.” The field flattens into a horizontal plane. All text aligns to this new ground. The final word 'us' settles firmly. Ensure the transition from dynamic field to flat plane is smooth and visually impactful.

Make a dynamic 15-20-second motion graphics showreel video for [Website] in our brand style that shows what an elite motion designer you are. Do your thing, make it insanely good.

Make a dynamic 15-second motion graphics video that shows what an incredible motion designer you are, like it's your showreel for a résumé. go all out. Make it a video to introduce `https://t.co/Ayf4rIphdr` 1. Use actual product screenshot/logo/assts 2. must have music and motion must match the music. Do it like a real professional production video, not like a demo or prototype.

make a dynamic 20-second motion graphics video related to {argument name="topic" default="mathematics"} that shows what an incredible motion designer with {argument name="skill set" default="mathematics skills"} you are, like it's your showreel for a résumé. go all out

make a dynamic motion graphics video that shows what an incredible motion designer you are, like it's your showreel for a résumé. go all out

この画像の女の子がエキサイトなダンスをする、ダイナミックな15秒のモーショングラフィックスビデオを作成してください。履歴書用のショーリールのような感じで、全力でやって。

15s studio motion-design reel, 1920x1080. Warm off-white, black type, one orange accent only. A single orange circle with motion blur is the through-line and the cut. Show: toggle click, the word Motion, shape morphs, dotted connector, rounded diamond, circular kinetic type (KINETIC TYPE · 3D · LOOPS · SPRINGS · EASING), dot grid, then the card “Opus 5.5 / Motion designer. / 0 keyframes”. Springs, no glow, no particles, no default easing. Looks like a refined product-studio showreel, not an AI trailer.

Make a dynamic million-dollar motion graphics video for https://t.co/ygsdMdfDFV that shows what an incredible motion designer you are, like it's your showreel for a résumé. Go all out. It must be grounded in functional reality. Every screen, label, and flow in the video must be something the product actually does today. Read the repo before designing anything.

Make a premium motion-graphics brand film for {argument name="brand_name" default="[BRAND NAME]"} ({argument name="website_url" default="[WEBSITE URL]"}). What it's about: {argument name="brand_description" default="[one sentence: what the brand does and for whom]"} Length & format: {argument name="length_format" default="[e.g. 20 s, 1920×1080 (16:9) or 1080×1350 (4:5)]"}, 60 fps Voiceover: {argument name="voiceover_type" default="[none / write it for me / these lines:"}

<inputs> 向我询问：8 到 12 个我希望形状变成的 UI 状态（例如按钮、加载器、播放器、滑块、开关、标签、图表、命令面板、通知），纯黑白或一种强调色，以及一首约 120 BPM 的免版税歌曲（例如 Mixkit，商业使用免费）。 </inputs> <direction> Dribbble 级别的 UI 动效视频。让基础几何形状平滑变形为指定的 UI 组件，保持极简主义美学，动作流畅且富有弹性，与音乐节奏完美同步。输出为可播放的视频文件。

create a 15 sec motion graphics showreel for @pixeluplabs, be extremely detail oriented and go all out

Create a dynamic 15-second motion graphics video that shows how amazing of a motion designer you are. It should feel like a showreel for a resume, go all out.