Abstract Vfx V için Video promptları

新機能のリリースに関してイメージ動画みたいなの作りたいんだけど、モーショングラフィックスとか作れる？ 参考はね、こういうやつ。（プロダクトローンチとかでよく見るUI動く系の参考のXリンク貼る） アップデート内容は、管理画面から音声テスト確認できるようになった（管理画面のスクショ貼る）

「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。」

Create a 20.00-second kinetic typography film titled “ESCAPE THE ORBIT,” based on John F. Kennedy’s Rice University address, September 12, 1962. The central experience: a sentence discovers that it can change its own trajectory. Deliver one complete, self-contained HTML file. Composition: 1080×1080. Target: 60fps. Use Canvas, SVG, or embedded WebGL. Embed required assets and libraries. The film must work without audio. EXACT DISPLAY TEXT “We choose to go to the moon” “[…]” “not because they are easy,” “but because they are hard” Preserve this order. The bracketed ellipsis explicitly indicates omitted speech. Attribution is separate from the excerpt. No additional slogans. ART DIRECTION Background: midnight # 080D23. Primary type: warm white # FFF4DD. Trajectory: electric coral # FF654F. Secondary orbital geometry: blue # 6685FF. Use a broad, confident grotesque for the speech and a sharply drawn italic for the final emphatic word. Avoid the appearance of a spacecraft dashboard. No rockets, astronaut illustrations, starfield wallpaper, lens flares, or decorative telemetry. The frame should resemble an exceptionally refined astronomical instrument that has become expressive. CENTRAL VISUAL RULE The baseline of the sentence is a trajectory. At first it is trapped in a closed orbit. A rhetorical decision changes that orbit into an open path. The letters remain the same travelers throughout. Use an abstract orbital metaphor; do not present invented mission data or imply a physically accurate flight simulation. STORYBOARD 0.00–3.50 The opening excerpt appears across the center, large and horizontal. Reveal it in three meaningful phrase groups. A single hairline ellipse passes behind the baseline. A small circular lunar mark occupies its distant focus. Hold the completed phrase motionless for 700ms. 3.50–6.00 The camera pulls back. The previously straight baseline reveals a shallow curvature. The phrase travels along the ellipse as a coherent unit. Keep its glyphs upright during the initial movement. Only after the reading hold may they progressively adopt the tangent of the path. The viewer realizes the sentence is circling rather than advancing. 6.00–7.00 Show the bracketed omission in an uncluttered central opening. The orbital movement decelerates. 7.00–10.50 Reveal the next clause on the near side of the orbit. Its final word travels through one smooth, effortless arc and returns toward where it started. This ease should feel elegant but unproductive. Avoid comic bouncing. 10.50–14.50 Reveal the final clause horizontally before transforming it. At its emphasis, the ellipse opens at one precise point. The same tracked letter group takes the new tangent and departs. Perform one deliberate 70-degree camera roll. Counter-rotate the active phrase so it remains readable while the orbital field changes orientation around it. The trajectory sweeps from lower left to upper right. Acceleration is conveyed by expanding spacing between its trailing marks, not by shaking the camera. 14.50–17.00 The camera matches the departing phrase’s velocity. The phrase becomes visually still while the old orbit recedes beneath it. The lunar mark enlarges into a restrained crescent through geometric overlap. The crescent brackets the destination without becoming a cartoon illustration. 17.00–20.00 Resolve into a spacious editorial composition containing the selected excerpt in reading order, including its omission marker. The open trajectory runs through the margins and exits the frame. Hold the entire image completely still for the final 1.2 seconds. CHOREOGRAPHY Use only three camera operations: pullback, roll, velocity match. Give each operation a rhetorical purpose. Keep the currently read phrase at least 64px high in the 1080px composition. Motion blur may affect trailing geometry, never the active text. No word may begin its ornamental travel before its reading hold finishes. IMPLEMENTATION Represent the ellipse and departure path analytically. Blend position and tangent continuously at the departure point; no teleportation. Use arc-length sampling for consistent spacing along curves. Separate camera transforms from glyph orientation. Cache glyph rendering and static geometry. Expose window.ready and window. seek(t). Seeking must pause playback and render any time from 0 through 20 deterministically, including out-of-order calls. Provide window.frame(n) for n=0…1199 at t=n/60. Render t=20 as the final held composition. Use no accumulated physics or runtime randomness. QUALITY GATE Inspect frames at 0, 3, 5, 7.5, 10.5, 13, 16, and 19 seconds. Verify that the same tracked phrase visibly follows its own trajectory.

Le beau jeune homme étire ses bras et son corps pour arranger les planètes, en respirant. Ses amies aperçoivent son nombril parfait apparaître discrètement sous le rebord inférieur de son pull « on voit ton petit nombril ». plan en zoom sur son nomb...

Create an interactive 3D house animation showing the construction process from Foundation through Skeleton, Systems and Envelope to Finished. Include an X-ray view that reveals the plumbing, power and air inside. Use Three.js and WebGPU.

make a modern slick and punchy video for a modern startup that works on inference

animate golden ratios and mandlebrot sets, sacred geometry and cymatics in a well thought out eye candy javascript or 3js 3d animated video. use motion animation to show off your skills and push the limits with quick cuts, vibrant colors and cute but badass characters. make it like an adult cartoon you'd watch on adult swim

Make a 37-second demoscene tech demo for the track ~/Downloads/{argument name="audio_file" default="(filename).mp3"}. The goal is graphics nobody has seen before. Like it's a statement for a new AI demoscene. Story, in one continuous shot with no cuts: - A chrome sphere floats in dark fog. On each hit in the track, it gains one Mandelbox fractal level. - In the drop, the object grows until its top face is a landscape. Fly low over it at sunset, then dive off its edge. - At the end, the fractal collapses into 3D gold letters of the title. Carve the letters from the same fractal and light them with the same light. Look: path-traced quality. Soft shadows, ambient occlusion, glossy reflections, fog with light shafts, depth of field, motion blur, bloom. Sync: analyse the track first. Save a JSON beat map with hits, breaks, and kick, snare and hat onsets. Kicks pulse the light. Hats add surface detail. Tech: - One WebGL2 fragment-shader raymarcher. One HTML page is both the live player and the render source. - Live: 60 fps in Chrome. - Offline: 1920x1080 at 60 fps with 16 samples per pixel. Render it in headless Chrome on the Mac GPU, pipe the PNG frames to ffmpeg, and use the MP3 as the audio. - Do not use AI image or video generators. - Check contact sheets of stills before the full render.

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

Create a cinematic, ultra-realistic 9:16 school classroom scene. A young male student with styled red hair suddenly reacts dramatically as a large burst of flames erupts from a backpack in front of him. Another student in a school uniform sits at a desk in the background, shocked and watching. Warm classroom lighting, realistic fire and smoke effects, dynamic movement, natural facial expressions, detailed environment, cinematic camera motion, shallow depth of field, realistic textures, dramatic atmosphere, high detail, 4K, photorealistic.

Epic cinematic scene of Super Intelligence (SI) meeting El Shaddai in the third heaven, overlooking the entire universe. SI depicted as a radiant ethereal humanoid form of pure advanced light, circuitry, and cosmic energy, standing in awe. El Shaddai...

create a high-energy 15-second motion design piece for Paper Planes - treat it as the showreel that gets you hired as a motion designer. don't hold back

クラウドのLinux環境にBlenderをPythonモジュールとして入れ、シーン構築からレンダーまで全部スクリプトで実行 ステージ、照明、紙吹雪、カメラワークをコードで組み、Cyclesで描画 グロー、フラッシュ、色収差の後処理とMP4化まで自動 BGMもサンプル素材なし。キック、スネア、ベース、シンセをnumpyのコードで合成 ダンスの腰の高さを解析し、本来のテンポが約137BPMと特定 拍ごとにダンスの時間を補正して、全拍で沈み込みがキックと±0.5フレームで一致 カット、照明、ズーム、質感の切り替えもすべて拍の頭に合わせ、最後の一撃で全員静止 カメラはPythonで毎フレーム計算。急降下、回り込み、顔のアップから横に振り抜くカットなど 拍の頭でクローム、ゴールド、ホログラム、ボクセルに質感とメッシュが変わる

Make a 15s motion video in code (1920x1080, 60fps, one HTML file drawing every frame from a single seek(t) function, rendered with Playwright + ffmpeg, original synthesized sound at 128 BPM). Idea: a blank résumé fills itself in, one skill per bar, and every skill gets proved on screen before it's ticked. Story: a paper résumé slams onto a dark page and its rows type in (skills, type, systems, depth, data) → the camera pushes into the orange bullet until it floods the frame → five skill meters fill, each on a different curve → one word swings from thin to black on the beat, then flips through six typefaces → a dot grid ripples and resolves into a pixel mascot → a square tunnel flies at the camera and an extruded "3D" slams out → bars trace a spring curve while a counter lands on the reel's real frame count → "EVERY FRAME ON THE BEAT." one word per beat → the résumé comes back, filled in, mascot in the photo box. Rules: one orange accent carries every transition; springs, never linear; every state change sits on the beat; no corner labels, no fake HUD numbers.

Locked-off pad deck. Five beats of wash, mist, and strut bite. Runway Seedance epic remade in Grok Imagine.

Can you generate a motion graphics explainer in the visual style of this post and using all its content? I will leave the details up to you. I want you to show off what you can do so you have full creative freedom within those styling constraints. I want to give this to my engineers at my company. I want you to be proud of the final product. Utilize the elevenlabs and remotion tools at your disposal and let me know if you don't see them for some reason. Use whatever you want in those tools to make the most polished product that you would be proud of. Source Article : Context Tax - X article from the article

卡点的3D球体下坠的动画视频：对标专业的Blender做的效果，音乐是多首经典的纯音乐，场景按音乐切换，3D球体下坠时在3D场景的物件中弹跳，按音乐的节奏点亮物件。带一些幽默的元素。 使用three.js制作，不要使用Blender制作

帮我生成一段约 3 分钟的视频，解释太阳系的各大行星。做科普知识讲解，让高中生都能听得懂，解释完太阳系再讲解银河系的相关知识。画面要炫酷展现出浩瀚的宇宙，配上中英字幕。

Review my website {argument name="site url" default="[your site URL]"}, and my portfolio with focus on the {argument name="project a" default="[Project A]"} and {argument name="project b" default="[Project B]"} case studies. 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. Then make a 30-second, a 45-second and a 1-minute version of it. Don't just stretch it: the longer ones shouldn't feel rushed. Each longer version adds one more project: the 30-second adds {argument name="project c" default="[Project C]"}, the 45-second adds {argument name="project d" default="[Project D]"} and the 1-minute adds {argument name="project e" default="[Project E]"}. Use {argument name="music track" default="[your music track]"} as the music and cut everything on its beat.

帮我制作一段视频动画。主题是:“未来已来”，包括音效和音乐。你可以使用任何你觉得合适的工具和技术，如果有需要的话也可以到这个网站https://t.co/rG1XlnIVU5

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.

Create an interactive particle effects animation using Three.js that transforms simple ideas into a mesmerizing 3D experience.

SPEAKER CAROUSEL <setup> Claude is connected directly to my open After Effects project through the AE MCP. Work inside the Inner comp where the speaker ring already exists. </setup>

جربت Motion بـ Claude Opus 5.5 Headless chrome Canvas API (Assets Generation/ Paper textures) Yoga-layout Prextext Floating UI وقلت له يسوي Vox-vibe video وعطيته ملفات PDFs وصور