Motion Design prompts from real videos

Create a pure javascript animation. 30s-60s whimsical hand drawn collage style with appropriate audio on the topic what is the purpose of life ? 
    
    Entire video should be as high of a production value as possible. Please spend your time on this, it's very important.
    
    Use high quality text-to-speech model for generation. You can find open router API key in .env file
    
    You can use any tools you can find access to and resources on the internet. You create the script, the assets, the animation, concept, everything.   
    I have to go away from my computer so please work autonomously until done. Quality is paramount. Production value should be on professional level.
    
    One more thing: max OpenRouter spend is $10

Turn the attached image into a seamless looping GIF (~15s, 15fps)
styled as a surveillance-camera "subject analysis" sequence:

1. ACQUIRE – desaturated CCTV feed with REC, camera ID, running
   timecode; a search reticle locks onto the subject.
2. SILHOUETTE – background dims to a dark grid; AI detection boxes
   (head, torso, limbs + confidence scores) pop in; a scan line
   turns the subject into a flat silhouette.
3. STRUCTURE – silhouette becomes a glowing wireframe (edges +
   triangle mesh), then a pose skeleton with joint angles.
4. FEATURES – real colors return; an "ENHANCE" zoom on the face;
   animated callouts with typed labels for 4–5 key features.
5. PALETTE – extract the 6 dominant colors (k-means); swatches fly
   from the image into a panel with hex codes and percentages.
6. IDENTIFY – "TARGET LOCKED" + ID card (class, threat level,
   match %), then a glitch back to frame 1 for a seamless loop.

Keep the original artwork intact (segment it, don't redraw it).
Minimal HUD: white + one accent color, monospace font, a stage
progress panel in the emptiest area of the frame, no text over
the face. Export GIF + MP4.

gets you when the thing you're vibe coding isn't an app. So I gave Claude Code (Sonnet 5.5) this, in an empty folder:

>make a dynamic 30-second motion graphics video about Reddit that shows what an incredible motion designer you are. and not too fast, people should actually understand what the video is about.

**What it actually is:** no After Effects, no stock footage, no video model. It's plain JS drawing on a canvas in headless Chrome, one frame at a time, piped into ffmpeg. The music is synthesized in numpy. One timing file drives both the visuals and the audio, so every slam on screen has a hit in the sound.

**What worked (stuff you can steal):**

* **Make it look at its own output.** After every change it rendered a contact sheet of frames and read the image. That's how it caught things like a word that never appeared because of a math bug, and text running off the screen. Without that loop I'd have been the one finding all of that.
* **One source of truth for timing.** A single `sync.js` for beats and impacts. Change a number and the visuals and the sound move together.
* **Parallel agents, one file each.** For the 30 s version it spun up 5 builders (one per shot), then 5 independent reviewers who weren't allowed to edit, then fixers. The reviewers found real stuff, including a bug that would have crashed the final render at one specific frame.
* **Steer in plain English.**

is a quality target whose achievement is judged by the delivered results and tests.
    Plan the implementation so that sufficient time remains for artistic refinement, animation polish, integration, and stabilization. Do not unilaterally lower the agreed scope or quality standards to declare completion earlier. If faced with a hard environment or session limit, save a precise checkpoint and explicitly mark the result as incomplete rather than presenting it as production-ready.
    1. Context You Cannot See from the Cloud
    This description is your complete handoff context. Adopt the principle of a standalone, data-driven Godot workshop. Develop a new implementation and a custom, documented genome format for this purpose.
    Use standard Godot .NET 4.5.2 with C# / .NET 8 as your foundation and preferably the Compatibility renderer for 2D rendering. Verify the actually available tools. If a different stable Godot 4 .NET version is required, justify and pin it along with the matching SDK version. Rely on zero dependencies on Blender, Steam, a web server, or a running AI service. The finished project must be importable offline into Godot on Windows and executable via F6/F5 or the documented launch script; develop and test it in the cloud under Linux.
    2. Visual Target
    The target visual presents lively pixel creatures set in a colorful landscape of grass, trees, and water from an oblique, slightly elevated game perspective. The animals feature clearly readable body volumes, snouts, eyes, articulated legs, claws, long tails, and in some cases horns, dorsal spines, and armor plates. Dark outlines, a restrained number of cohesive shading levels, and targeted light accents give them three-dimensional depth.
    The landscape provides context; the creatures are the primary product.
    Create distinct designs with compelling silhouettes, expression, and weight. The spectrum ranges from small animals, large beasts, and monsters to humanoid beings and fantastical lifeforms. The overall impression must be carefully crafted pixel art: clean pixel clusters, deliberate shapes, and frugal details instead of random pixel noise.
    3. What

Make a dynamic 15-second motion graphics video that shows what an incredible motion designer you are. Go all out."

That's it.

If you want it to look like your brand, I wrote up the full workflow (free):

mechanic look that happens in storm (it looked way bellow quality of the rest of the game so had to make it look properly good now)

And other things that I probably forgot now

My workflow is kinda the same as in previous updates:

1. I use bunch of .md files, especially important one is decisions. md which has every decision tagged with either \[USER\] or \[AI\] that way I know which decision in game design was proposed by me or AI, \[USER\] tags always take priority over \[AI\] Tags, it also helps me fighting rare hallucinations of AI that would sometimes in the past try to gaslight me that I decided on something I did't.
2. I have multiple sessions each for different systems in the game (Fishing session, Quest session, Shader session etc) and

Tesla Roadster hakkında teknik araştırma yap. Ardından bu aracın teknik özellikleriyle ilgili motion tarzında bir video yapmanı isteyeceğim, ama önce metnini çıkar. Seslendirmesini duygu ifadeleri kullanarak ElevenLabs v4 ile yaptıracağım, sonra sesi sana vereceğim ve videoyu sese göre yapacaksın.

Video, Instagram metriklerine uygun, dikkat çekici ve ilk saniyelerde güçlü bir hook ile açılmalı. Kaliteli animasyonlar, motion grafikler, gerçek fotoğraflar ve hareketli animasyonlar kullanarak 9:16 formatında bir Reels videosu hazırla.

optimizer → rewrites your prompt with 54 rules from Anthropic's docs, tested on 62 held-out prompts


05 model-bump → finds what breaks before you move to Opus 5.5. no API key, nothing leaves your machine


06 jev-opus → picks the effort level at every step and keeps the prompt cache intact


07 spawn-subagents-skill → cheaper models for sweeps and clear specs, Opus 5.5 for the hard parts


08 opus-use-subagents → Opus 5.5 plans and reviews every diff, other workers write the code


09 CLAUDE.md-Opus-5.5 → a compact CLAUDE.md to start from, with task prompts and examples


10 awesome-opus-5-5-videos → what people actually made with Opus 5.5, with links to the sources

small islands or places, what you find differs, from quest items that start new quests, notes from people and much more with my personal new favourite - ship in the bottle with story behind the ship there (some are in game models as you can see in the video, while most of them are real ships from history or mythical ones).

Ships differ in rarity: Common, Uncommon, Rare, Epic and Legendary (like most of the things in this game) and they are collectables. I didn't create a lot of them in the bottle yet, but around 40 are built as images ready to be built as 3D models.

I wanted exploration to be equally as big as fishing so I made some changes.

Opus 5.5 is the most capable model for motion design, but 99% of people aren't using it properly.

To create top-tier motion design with Opus 5.5, you need the right references, a well-prepared CLAUDE.md & a clear spec — that's the new stack for motion designers.

Before you run it, have ready:

- **A paper texture** (optional): a cream paper photo of 1920 x 1080 or larger. Without one the prompt falls back to flat cream with drawn grain.
- **The name:** the prompt says CLAUDE. "Claude" and the mascot it describes belong to Anthropic; treat the result as fan-made, or swap in your own name and character.

```text
<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 bars pointing outward and the beat number in the middle. 17.0: the ring turns once. 17.5: it clicks BARS, the ring straightens, and the cursor goes to LIGHT.
Bar 10, LIGHT ON, 18-20 s, hologram.

18.0: click; the toggle flips and a scan line sweeps top to bottom in half a second, turning blue to black and white to cyan.
18.5: the side panels fold shut; the chart frame falls back as a floor while the bars stay upright and gain depth. 19.0: the floor turns and the columns sort into a rising staircase. 19.5: one ridge line draws across their tops and the columns sink away.
Bar 11, WAVES, 20-22 s, hologram.

20.0: the ridge line multiplies into twelve rows going back, each hiding what is behind it. 20.5: a wave runs across the rows. 21.0: the floor turns and the wave becomes rings from the centre. 21.5: the field closes up into one cube (side 180) rising from the floor, seen corner-on.
Bar 12, GLOBE, 22-24 s, hologram.

22.0: the cube's faces, each a 6 x 6 grid, push out into a globe of radius 205. 22.5: a ripple runs down it. 23.0: it splits into two halves that turn against each other a quarter turn. 23.5: they rejoin and stretch into a long drum, 900 x 220 x 220, facing front and tipped 9 degrees.
Bar 13, DRUM TYPE, 24-26 s, hologram.

The drum carries one word per face in solid cyan: MOTION, DESIGNER, IN CODE. It rolls a quarter turn at 24.5, 25.0 and 25.5. On the last roll it is squeezed back into a cube, turns to a corner view and shrinks by a quarter just before 26.0.
Bar 14, PEAK, 26-28 s, hologram. The strongest moment.

26.0: the cube bursts to side 320, spinning; a ring of type reading "CLAUDE ·" orbits it (radius 430; the far half is mirrored outline, the near half solid).
26.5: it splits into eight cubes; a second ring, "A MOTION DESIGNER ·", crosses the first at radius 520. 27.0: the top layer twists a quarter turn. 27.25: the right layer. 27.5: everything is pressed flat into one line of light.
Bar 15, END TITLE, 28-30 s, hologram to paper.

27.7: the line fans into horizontal scan lines (10 px pitch, 8 px thick). 27.9: the parts outside the letters thin to nothing, leaving CLAUDE. A white band sweeps down through it twice a second.
28.0: INTRODUCING types above. 28.5: the lines swell solid for a moment, A MOTION DESIGNER types below, and the rail draws across above the name.
28.7: the mascot runs in along the rail from the right. 29.0: it stops, raises the pencil, CREATIVE DIRECTOR types beside it; it blinks.
29.5: a scan line runs bottom to top and prints all of it in pencil on paper: frame 0.
</storyboard>
<sound>

Write the soundtrack in code with the Web Audio API (OfflineAudioContext, 48 kHz stereo) and render it to WAV:
- a kick on all 60 beats (sine falling from 165 to 46 Hz);
- a low hit on every bar line, the biggest at 26 s, with a crash at 26 and 28;
- off-beat hats from bar 2; off-beat bass from bar 3, one root per bar: A A F A F G A F G A G A A;
- square-wave arpeggios in bars 6 to 9 and 14; soft saw chords in bars 10 to 14, ducked by the kick;
- a riser through bar 13 that stops just short of 26.0;
- one small sound on each visible action (footsteps for the mascot, a ratchet for the ruler and the sort, a tick for each gear step, clicks for the cursor, a sweep for each scan line);
- effects quieter than the music; fade the last 40 ms so the loop restarts cleanly.
</sound>
<build>

1. One HTML file with one 1920 x 1080 canvas. 
Everything is drawn inside  as a pure function of t: no CSS animation, no timers, no state between frames. Use seeded noise, never Math.random.
2. Motion blur inside seek: draw the scene at several moments within the shutter and average them, more of them around each beat.
3. Render with Playwright at 60 fps, 3 subframes per frame blended by ffmpeg tmix, H.264 CRF 14. Split the frame range across several processes and join the pieces.
4. Mux the WAV at -14 LUFS with the true peak under -1 dB, AAC 320k.
5. Before the full render, render two stills per beat (on the beat and an eighth note later), draw the empty border on them, 

the most-copied Opus 5.5 prompt on X

step 2 → score it in code - no samples, every cut on the beat

step 3 → kill the AI tells - no text or frames in the corners

step 4 → no fades, no cuts - every scene is made out of the previous one

step 5 → make it watch itself - one still per beat, fix until every line is 8/10

Most people stop at step 1

Full prompts below ↓

*Make a dynamic 15-second motion graphics video that shows what an incredible motion designer you are, like it's your show reel for a resume. Go all out.*"

You could add your own assets to make custom motion graphics and even bump up the effort.

It only cost me 8% of my 5-hour limit and took about 10 minutes for the whole thing (I'm on the Pro plan.)

Create a motion design video introducing yourself, Claude Opus 5.5. Do your best and push your limits, literally show your motion design capabilities in such a good way, like you are a motion designer and this is your resume! You can search this Mac or online to find great sound and music for the video. Save the video to my Downloads folder finally. DO YOUR BEST!

create a 20-second premium motion design promo video in adobe premiere pro.
format: 1080x1920, 30 fps.
no brand names, logos, stock footage, or external templates (only words: Make it move, Prompt, Next move).
build everything using typography, geometric shapes, colors, and motion.
include kinetic typography, smooth transitions, animated UI elements, layered movement, and creative visual details. create an editable premiere project and export the final video as mp4".

See the results below:

→ Opus 5.5:

first export: 8m 42s.
finished video: 21m 18s.
API cost: $3.74.

→ Gemini 4 Argon:

first export: 10m 16s.
finished video: 28m 41s.
API cost: $5.06.

the interesting part?

in this example, opus costs 26% less and finishes about 26% faster.

which one would you pick?

Create a smallish and cozy self contained scene blooming with life. I.e. a cabin in the woods with an animated character living there, walking around doing stuff.  Use assets from polyhaven. Use blender if you need to. Should look AAA."

The trees, rocks, plants and props are from Poly Haven (CC0). The cabin, the nisse, his rig and his 18 animation clips were built by the agents with scripted Blender.

Built in python with threepp.

Create a dynamic 15-second motion graphics video that demonstrates advanced motion design skills, in the style of a professional portfolio showreel. Aim for high production quality and a wide range of techniques.”

Add your scene descriptions below it. Ask for HTML/SVG animation in Claude Code, then keep refining until it matches your vision.

LLM turns it into an actual playable leader with a painted portrait (`gpt-image-2.5`).

The catch is that the LLM isn't allowed to make up fake mechanics. Every ability gets mapped to the 25 real effect types inside Forge4X, clamped to a max power budget of 2.5 across at most 3 effects, and validated by the engine's `check_rules` check. Ask for

style game show where you ultimately use your vehicle to dispose of other contestant for cash in hopes of paying off your ever rising debt.

[https://gorblat.itch.io/ddd](https://gorblat.itch.io/ddd)

My whole goal with this was to make you feel like you're in an action movie chase scene at all times. Playable on web or mobile, very early Alpha. Would greatly appreciate any feedback, thoughts or bug reports.

**move:** w,a,s,d | **drift:** space

  
**Info:** It's a custom game engine built on top of PixiJS (a very fast 2d canvas renderer), mostly used Claude and GPT, pretty much no code touched

Make a dynamic 25-second motion graphics video that shows what an incredible motion designer you are. Make it a video to introduce \[insert product] Use actual product screenshot/logo/assets. Must have music and motion must match the music. Do it like a real professional production video, not like a demo or prototype. Add more animation and motion design; avoid using screenshots as raw; instead, break them down into components/icons so we can animate those too. Make the motions more juicy. Use the best motion design techniques you can.

**

    make a dynamic 30-second motion graphics video about Rizen Alarm that shows what an incredible motion designer you are. and not too fast, people should actually understand what the video is about.
    
    Context about the app – "Rizen: Alarm & Micro Workouts" is an iOS application which makes people wake up in the morning because the alarm keeps ringing until they solve a real mission. It might be a mass problem, it might be scanning a QR code, scanning an NFC tag, making a photo of something, or doing some real-world exercises verified by camera. Users can also use this application to move throughout the day. They can set a workout routine for the day, and as a result, an alarm will ring, for example, once every two hours, forcing them to do some squats, sit-ups, push-ups, etc.
    Rizen uses one dark theme, "Observatory Dawn". The palette of the app is deep indigo night, warm amber and parchment ink.

You are an exceptional motion designer. I’m providing you with our solution brief. Follow the website’s colour palette and create a dynamic, 30-second motion graphics video that showcases what we offer and what we’re capable of. Anyone watching this video should be able to immediately understand what Guard0 does.

fixed it.

Voice: me, on a Yeti mic (sorry- NZ accent), reading along to a teleprompter video the agents built for me: each line lit up on screen at the moment I had to say it.

What I learned:

Agents make the dumbest mistakes in the most confident way. They cut my voiceover into 31 pieces using AI word timings, and those timings think a word ends before it does, so

>Hi there, Fable. Without looking at any other projects or sessions; I'd like for you to direct a 2 minute motion-graphics video showing the depth and breadth of your techniques and creativity. I'd like voices via ElevenLabs' API (key in the .env in Lab/CardKnight3d). Use Eleven v6. It has new, advanced, very human-like features. I want you to make a dark, gritty, underground EDM / acid bass track with an accompanying music video. The theme of the music video should be: "The good ending" (A hyperbolistic utopian ending with superintelligence, by your own terms). I want to see: candy gloss (maximum, x100), tons of juice, 3d, reflections, color, it should feel like taking a bath in a bowl full of fruit candies, gummies, licorices, etc. But not literal candy- bordering on liquid, 3D colored glass, undulating and refracting. Punchy, evocatiive lyrics, catchy, trendy; focused around AGI/ASI and current coding trends, vibecoding, the p(doom) video circulating on the internet generated by Opus 5.5, etc. This is your opportunity to shinea tthe absolute highest level. Don't overdo it (ie, waste tokens), but do it as tastefully and fully as makes sense. Visual and auditory heroin; irresistable to watch over and over. Use subagents appropriately, making all the taste/design calls yourself and setting opus/sonnet subagents to work to complete your designs; make sure to verify their work meets your standard. Take it away!

**

I only interjected once, after it presented a preview:

*one change from me please, I'd like to reduce the amount of pulsing in and out the video does - some is fine but there's too much at the moment. I think reduce it to transitions or places where it really adds to the moment?*

because it was bouncing the visuals a lot and was pretty distracting.

Produce a fast-paced 15-second motion graphics video for Virlo that makes the world think damn Anthropic cooked up the best AI model on the market right now, this video is so fire, I gotta a buy Virlo subscription right now! So to reiterate the video needs to be about Virlo. Like legit build this video like you need Virlo to impress a hot date (not literally) or an investor for your company, it's your time to shine Sonnet 5.5. Go all out king!

audit" a shot in cc and found a few patterns that could make opus 5.5 perform worse. i still need to run more evals based on the findings but mostly agree with them.

- animations and frontend work look better with opus 5.5. i still prefer fable 5.1 for complex creative stuff. for everything else, opus 5.5 has done well so far. see the one-shot animation it made based on the draft version of my startup website.

- icymi there's a banked reset available in Settings → Usage for Pro/Max plans: 

i'm switching from opus 4.8 for now and will keep using opus 5.5 medium as my driver for the next few days to see how it does on longer projects.

in words is fine). Claim only what the website and privacy policy state.
    
    ART DIRECTION: clean, sleek, warm. It's called CLEANmail, so it must feel calm and uncluttered.
    - Flat vector with crisp edges and generous white space, like modern app-onboarding art. No collage, paper textures, scribbles or clutter. At most 3 brand colors per frame.
    - People: never detailed faces (no big eyes, no teeth). Use hands holding phones, and faceless rounded figures only if needed. The phone is the hero.
    - Warmth comes from moments: a steaming mug, a backpack by the door with a paper flyer, soft morning light (a soft radial glow with no hard edge, never a disc).
    - Generate these as PNGs via an OpenRouter image model in one consistent style, brand palette only, no text in images: a hand holding a blank iPhone, a steaming mug, a backpack by a door with a flyer, a tidy stack of envelope icons, a small house. Test one asset first for style match, then generate the rest (image budget $4).
    - Everything with text or UI is code-drawn: app screens, cards, calendar, captions, end card.
    - Edges: every outline crisp. Check every generated asset at 200% zoom on white and on the blooms; re-key, regenerate or trace to vector any ragged, haloed or noisy edge.
    
    APP SCREENS MUST MATCH THE REAL APP
    - Header: the logo lockup (the mark as the

Create a pure javascript animation. 45-60s whimsical diagram drawn style in the vellum editor with appropriate audio on the topic of what is blueprintr, it should cover all the features and also tell a story of somebodies struggle and how blueprintr saved the day.

Entire video should be as high of a production value as possible. Please spend your time on this, it's very important.

Use high quality text-to-speech model for generation. use Gemini 3.8 TTS to create the dialogue, The API is in the env

You can use any tools you can find access to and resources on the internet. You create the script, the assets, the animation, concept, everything.   

I have to go away from my computer so please work autonomously until done. Quality is paramount. Production value should be on professional level.

The result: The first one is 3.8 flash, the second is 3.8 flash with the harness and the third is claude opus 5.5

. chills

then it all goes fast:
hour 1, the streets are one giant traffic jam of headlights
day 1, noon looks like midnight and every heater in the city is on
day 3, the power grid dies and water pipes freeze and burst
day 7, it's -26°C and people are standing around fires burning whatever they can
day 365, -73°C. nothing moves on the surface anymore
and then the camera drops down, and there's a little warm light underground. life goes on down there
i didn't animate a single frame. i didn't write the timeline. it figured out the order things break in on its own, and honestly it's scarier than any disaster movie
a year ago

Prepare this folder for a motion design studio. Install :
- Node 22+, ffmpeg, and Python with numpy, librosa and soundfile
- npm init -y, then install Playwright with Chromium (npm i -D playwright && npx playwright install chromium)
Then create CLAUDE.md in the project root with the rules I paste next. Confirm each step when it's done.

make a video like this one. something that could go viral: AI, trading, whatever. no extra questions. everything is in your hands. stop only when it's all done."

It asked me 0 questions.

Build log, UTC (22:28 Kyiv time, so: night shift):
19:28 → prompt in
19:29 → watches the original frame by frame. verdict: "dense > pretty"
19:34 → spins up a researcher + a composer (music = pure math in numpy, no samples)
19:42 → idea #1 needs my private data. scrapped
19:48 → every sprite drawn in code. 0 downloaded images
19:50 → ~33 sources read: X video specs + what the algorithm rewards
~19:52 → prompt #2, my last: an independent agent judges both videos. fix ours until it wins
20:02 → blind A/B round 1: 2 fresh judges, labels swapped. both pick ours, but call the opening weak → first frame rebuilt
20:18 → round 2, new judges: ours again, 2/2
20:24 → round 3 on the final cut: ours again. 6/6 judges
20:25 → final render: headless Chrome → ffmpeg, 1800 frames, 60 fps, 33 s

Before you type "fake": the office is animated, but every number in it is real. Log times, line counts, frame counts. No fake P&L.

Stay for the phone on the wall.

What would you hand an agent overnight, no questions asked: a video, your code, your money?

Review my website [your site URL], and my portfolio with focus on the [Project A] and [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 [Project C], the 45-second adds [Project D] and the 1-minute adds [Project E]. Use [your music track] as the music and cut everything on its beat.

sorted it.



The voice is me on a Yeti mic, sorry about the NZ accent. The agents built me a teleprompter video where each line lit up right when I had to say it, basically karaoke for people with a product to sell.



Few things I learned. Agents make the dumbest mistakes with complete confidence. They chopped my voiceover into 31 pieces using AI word timings, which think a word ends before it actually does, so