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{argument name="question" default="今日何曜日だっけ？"}付きの30秒のかっこいいモーショングラフィックスで教えて（全力を出してください）

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.

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 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.

<inputs> Ask me for: the one question a user asks my product and its one-line answer, two album covers, a royalty-free song around 110 BPM with a quiet intro and a hard drop (Mixkit, free for commercial use), and my logo for the ending. If I skip any, use the defaults: "is this all code?" / "yes. every frame.", two atmospheric photos, Mixkit "Head Bang". </inputs> <direction> A 22 second square loop, 1440x1440 at 60fps, 2D only, one continuous take. Nothing ever cuts: every scene grows out of the last, and every gesture physically carries the camera into the next world. Every morph glides for 0.8s on cubic-bezier(.45,0,.15,1) and the camera zoom rides the same curve, so shapes change so smoothly you barely notice. Content dissolves in the back half of each glide. One gesture per scene. Look: a warm light stage (#f3f3f0 to #e3e3de), black UI, the app world dark (#121212) tinted from the current album cover, one green accent (#1ed760). Geist for UI, the real macOS pointer, soft layered shadows that grow with the shape's height. Banned: hard cuts, bouncy springs, particles, glows, zooming in and straight back out, holds longer than 1s, anything that looks like a template. </direction> <structure> Beats are the song's, and the press lands on its drop. Generate: the cursor clicks, the pill glides into a spinner, then a check. Chat: the check splits into three typing dots (goo). The left dot flies up into the question bubble and types it, the right one flies down into the reply. Both contract back into dots while gliding in and pour into the middle one. Play: the middle dot bends into a play triangle, point by point. The cursor presses it on the drop: a white button pops in under the click and the dark app floods out around it, so the leftover white becomes the play button. The camera pulls back to reveal the full now-playing screen: big cover, title, heart (liked, fills green), progress, controls, volume. Swipe: the cursor drags the cover sideways, the next track slides in, and the whole app retints from the new cover. Drag: the camera glides to the volume. The cursor drags it to max and keeps pulling: the bar rubber-bands and drags the camera sideways out of the app, tracking the knob across a dark dotted canvas. Chart: the line lands and bends up into a green chart while the number counts up. The volume knob becomes its last point. Dive: the cursor clicks that point and the camera dives into it until the light stage fills the frame. Ending: an "Ask [my product]" button grows out of the light, thins into a line, and the line fans out into my logo (default: the Claude spark, six copies rotating into twelve rays in Claude orange). It folds back into the line, which thickens into Generate. Last frame = first frame. </structure>

请在当前项目做一支 15 秒的产品使用说明视频，使用 Remotion，竖版 1080×1920、30fps、共 450 帧。只用 assets 目录里提供的商品图和我给出的事实，不下载陌生素材，不补销售数据。 第 0 至 3 秒展示商品与一句使用场景。第 3 至 9 秒演示两步操作，每步只出现一个动作。第 9 至 13 秒展示结果，并保留能看清的停留时间。最后 2 秒显示产品名称，不加购买引导。 先列分镜与素材缺口，再做预览。字幕单独排版，动效以当前帧号计算。不要用真实时钟驱动时间线，也不要使用不固定的随机数。商品、文字、镜头时间分别配置，方便以后替换。 交付可编辑项目、启动与渲染命令、MP4，以及第 1、5、10、14 秒的静帧。缺少必要素材时停止并说明，不用假素材代替。

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

Make a motion graphics video that explains how the First & 10 Yellow Line works.

<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 </

[Task] Create a 60-second motion-graphic explainer video on the history of the printing press, from its origins to the present day. [Roles] - Higgsfield: creates every image in the video (still images only). - You: create all motion graphics and animation. [Style] Newspaper cutouts with mixed-media collage, highly polished: layered paper cutouts, torn edges, halftone textures, soft shadows, and bold editorial typography. [Rules] - Keep every fact and date accurate. - No text inside the Higgsfield images. Add all text yourself as animated typography. - Keep the look consistent across every scene. - End on the opening frame so the video loops. Never end on a hard cut.

Here is my life timeline. Turn it into a [45]-second motion graphics video, 1080 x 1350, for LinkedIn. One scene per moment. Show the year large and the moment in one line, and move between them. Build it as one HTML file where every frame is a part of time Before you render, make a contact sheet of stills, check it for overlaps and spelling, and fix what is wrong. Then render the MP4.

「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 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 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

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:"}

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 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.

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

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 15-second motion-design showreel, like a résumé portfolio reel for a motion designer named CLAUDE. Go all out. - 1920×1080, 60 fps, exactly 15 s. Every frame and every sound is generated in code. - 128 BPM, 8 bars; each section is one bar (1.875 s), and every move lands on the beat.

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 30-second motion graphics video that shows how DecorViz works, like it's your showreel for a résumé. go all out.